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I think I would like to restart this project, and I think this is the opportune time to do it. I never really meant to abandon it, but I just ran out of time while I was in the Philippines. I don't think that matters, really - I wrote enormous journal entries every day (I had to... although I didn't have to make them 1600+ words, haha, which is how long some were) and took a ton of photos anyway. I think I've covered that particular period of my life rather well :)
Today was the first day of my second Walkabout... just call it an internship if you want to - this one is a pretty traditional one. Four days a week I'll be going to the statehouse in Columbus and working with a reporter there. He does segments for Ohio Public Radio and sometimes for NPR as well (we did a 50-second segment on foreclosures for them today... a statistic that I tracked down was broadcast nationally!)
I sat in on a meeting with the governor, treasurer, and some other high-ups... I also got to do some sound editing and basically just learned a ton. It's not as exciting as the Philippines, but I think I'll enjoy it. Transportation is a little iffy - my dad's giving me a ride down to OSU's campus in the morning and I catch a bus from there to the statehouse, then do the same in the afternoon. But I like wandering around campus in the afternoon - I can pop into the arts center and just kind of enjoy being outside - and it's kind of funny to totally blend in with the student population there but SECRETLY NOT BE ONE OF THEM! hahaha.
I also really like being in the city. The suburbs feel eerily dead to me now.
That's my moleskine up there, which is my new little friend for government meeting note-taking. I have to dress up for "work," now, too, which is rather different than what I was doing before. The anchor earrings are from Bangkok, though, and it's nice to feel like I'm bringing a (tangible) part of that with me.
It's hard to see how much you've changed when you just examine your present state, since change is gradual. But I know I'm a different person now - when I think about the time before I left, back in January, it feels like years have passed.
It's his birthday today and we're half the world apart. I used to write "to be an architect" whenever someone ask me to sign their slum book. But now i know exactly what I want to be, I wanna be just like my dad. Happy Birthday Dad!
“One night a father overheard his son pray: Dear God, Make me the kind of man my Daddy is. Later that night, the Father prayed, Dear God, Make me the kind of man my son wants me to be.”
This was a day between beautiful days, where the cold steel sky swept in and crisp desert lines and colors were replaced by a misty mush. We were about to drive out of it via this beautifully unremarkable connecting route linking town to valley and rimrock.
I remember it a certain way but photographs tend to lie, muddling emotion-based human memory with memory cards and film. Seeking beauty in the difficult past can be a process of turning over the act of memory to true fictions.
Lake County, Oregon, 2023
Thankfully, in addition to being eyeless Gumbo is also toothless.
[SOOC, f/7.1, ISO 100, shutter speed 1/500, -2/3 EV]
The annual three day working farm show is where the AETA harvest corn and beans with mid 1900's equipment, show the use , of horses for working a field, thresh oats or wheat, run a saw mill, plowing, baling, and demonstrate gas engines as they were used from the early to mid 1900's. The annual show gets bigger each year with over 400 tractors, over 100 garden tractors and hundreds of gas engines, plus other agricultural memorabilia on the grounds. Each year the AETA features a different brand of antique engine and/or tractor and this year we will feature The Lesser Known Tractors and Gas Engines.
Antique Corn Pickers - Rope Making - Combine Demonstrations - Plowing - Windmill- Wood Carving - Quilting - Corn Picking By Hand - Corn Shelling - Working Blacksmith - Pie Auction - Specialty & Ag Vendors - Kids Games & Activities - Much More!
RHTT to the rescue. 20308 T&T 20312 with the Didcot-Tyne Dock empty coal diagram & 66704 attached to the rear and out of view, wends its way down the Old Road and passed Masboro. There were no reports on this and I assume the coal train on its way towards Doncaster was caught up in the flooding around Conisbrough. All traffic along the line was suspended, and at least two trains were rescued, or dragged back to Rotherham, and presumably to the cross over adjacent the Steel Terminal, in order that the trains could once more head north, taking the line to Moorthorpe.
Defendente Ferrari - Triptych [c 1520]
Sant'Ambrogio (TO) Sacra di San MIchele
E’ il capolavoro più prezioso che possiede la Sacra, prelevato dall'altare maggiore, è stato restaurato e posto nel Coro Vecchio.
Nel centro domina, in piedi su un arco di luna, in una mandorla d’oro, circondata da 12 cherubini, una delicata Madonna che allatta il Bambino Gesù. I pannelli laterali rappresentano l'uno San Michele Arcangelo che sconfigge il demonio, l'altro San Giovanni Vincenzo, che presenta alla Vergine il committente dell'opera Urbano di Miolans, abate commendatario della Sacra dal 1503 al 1522. La vezzosità del Bambinello è mirabile e naturalissima è la posizione dei piedini; lo splendido viso di Maria ispira fiducia, lo sguardo è modesto, l’impressione generale è di malinconia dolce, di innocenza e di pudore. Alla base, una squisita predella, su cui l'autore dipinge la Visitazione di Maria, la Natività del Bambino Gesù e l'Adorazione dei Magi.
Source:
www.sacradisanmichele.com/ita/test_display/index/id/26/cat/8
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
New to Lothian and then transferred to Lothian Country Buses and repainted in their livery. Then gained service X38 branding. Transferred back to Lothian and repainted in FOTF livery.
Launch Lake Wallis at completion of the hull (1940/41); she was brought around from the beach on a cradle and launched near the main Tuncurry wharf. The tug assisting is believed to be the Forster; Henry Miles (with hat) on deck and Harry Avery (braces) assisting.
Other images of the Lake Wallis can be found in the Album Lake Wallis
The ferry Lake Wallis operated out of Forster for a long period and was well-known to both holidaymakers and schoolchildren as she plied the waters of Wallis Lake.
UPDATED OCTOBER 2018
Lake Wallis built by Harry Avery
Recent information supplied by Peter Emmerson, son of Albert CARL Emmerson, indicates that his father had the Lake Wallis built specifically for use on Wallis Lake by John Wright & Co. Ltd's chief shipwright, Harry Avery. Commenced circa 1940 and launched circa 1941/2 she was built prior to the time when Wright's shipyard was contracted to building a large number of vessels for the US Army and the Australian Army. While the timbers used in construction are unknown, the planking was of White Beech (Gmelina leichhardtii) sourced from the Comboyne Plateau.
From the images provided by Peter Emmerson it is clear that the hull was completed with timber frame to allow later finishing as a ferry; she was taken by cradle further upstream to an area adjacent to the Tuncurry coal-loader.
Albert CARL Emmerson fits out the Lake Wallis
It appears likely that Carl Emmerson bought the hull only and fitted her with steering gear and a 2 cyl. J2 Kelvin Diesel with petrol assist start. Petrol and spark plugs was used ignite the chamber and thus assist the flywheel to turn; this was an essential component of the starting procedure in cold weather. Carl fitted out the launch with anything that was available. In 1943, equipment and components were unavailable with invasion by Japanese forces appearing almost inevitable. Carl's innovative approach included using the steering wheel of an old Dodge truck. The new launch, named the Lake Wallis replaced his previous launch the ex-cream boat Dorrie May.
Carl Emmerson obtained a Special Lease to build a wharf on Wallis Lake and operated the Lake Wallis as the official mail boat, passenger ferry, delivery launch and later for excursionists. Carl operated his launch service at 9 am Monday, Wednesday and Friday (3h return trip). From Forster the launch travelled to Green Point (Lach Fraser’s dairy); then South to Charlotte Bay Creek then NW to Whoota; then to Coomba Park (Beddington’s) then to Sointu's wharf (John Sointu and Ida Niemi) on the SW side of Wallis Island and finally back to Forster. On the other days he operated his bus service to Elizabeth Beach, Booti Booti, Charlottte Bay and back to Forster. Carl also delivered boxes of butter from the Cape Hawke Co-operative Butter factory in Tuncurry to stores in Forster, three days a week.
Carl Emmerson starts tourist trips around Wallis lake
After the War, when people were again able to travel, Carl commenced a tourist operation taking visitors around the extensive Wallis Lake. His wife, Mollie, acted as deckhand and morning tea maker - pleasing everyone with her home-made shortbread biscuits.
In 1967 Carl sold his entire operation (including the Lake Wallis, the Special Lease, the established tourist route and wharf facilities to Stan Croad.
Stan Croad
The Master of the Lake Wallis from 1967 was Stan Croad, both a ferryman and film operator at the Regent Theatre in Forster. Stanley Osbourne Croad was born in Kempsey in 1912 and moved to Forster around 1937 when the Regent Theatre opened and he commenced work as film operator.
Prior to purchase of the Lake Wallis he operated a launch - name unknown. In 1944, newspaper reports show that Stan had secured a contract to transport schoolchildren from areas around Wallis Lake to Forster. In 1946 he sought a Special Lease from the Lands Board Office to operate his launch service, “carrying school children to and from school per motor launch, and conducting scenic tours of Wallis Lakes” - as indicated by this notice in the Northern Champion.
“It is notified in the Government Gazette of 19th and 26th September and 3rd and 10th October, 1947, that application has been made by Stanley Osbourne Croad, for Special Lease No. 47/37, Land District of Taree, for Jetty, containing about 2 perches below high water mark of Wallis Lake at Forster, between portions 297 and 343 and south of and adjoining the area applied for as Special Lease 46/62 (The Northern Champion (Taree, NSW: 1913 - 1954 Sat 11 Oct 1947).
Croad operated from Emmerson's Lease 38/21 post 1967 but the precise details of his earlier operation is unknown: According to Carl's son, Peter, the relationship between Carl Emmerson and Stan Croad was not a happy one. It was Stan Croad who replaced the Kelvin J2 diesel with the more powerful Lister diesel motor.
In 1975 the Wallis Lake was registered to carry 39 persons and provide life-saving devices for 18 persons. She was described only as 29 ft 3 inches long and only licenced to travel on CAPE HAWKE HARBOUR – Smooth Water only. Graeme Andrews recorded her dimensions as 9 ft 10 inches breadth and 5.3 tonnes.
AFLOAT MAGAZINE ARTICLE
The best description of Stan’s operation was published in the magazine AFLOAT. It was written by Graeme and Winsome Andrews in 1976. Excerpts are included below:
“Stan Croad of Forster is a throw-back. In 1976 he is probably the last of the travelling storemen who once could be seen on most of Australia’s waterways. These water-borne carriers could be found on any river. They brought stores and religion. They collected produce outbound and replaced it with passengers inbound.
Stan still does something like that. Along with his tourist passengers he carries beer, bread, mail and vegetables and at various wharves around the lake he is met by the locals. Meanwhile his passengers watch the process with interest, probably unaware of just what they are watching.
Stan’s small well-deck ferry Lake Wallis is one of the last of the small working craft of the Forster area, her lineage goes back to the time when Forster was a thriving coastal shipping port. The days of the small ferry are numbered as Forster’s population is increasing and new waterfront businesses are growing, along with bigger, faster and more obvious cruise boats. Stan reckons he will not be able to compete but he and his little boat might last long enough, particularly as her shallow draft allows her to reach places out of bounds to bigger craft.
In 1976 only one other boat competed with Stan for the tourist trade. The ex-river milk boat Sun with her liquor license and great size carried a different load to Stan and their paths rarely crossed. [In 2016 Sun is based in Brooklyn on the Hawkesbury River and services Dangar Island and the settlements such as Little Wobby.]
Stan collects his goods and passengers from almost the heart of Forster. The trip is advertised as starting at 0900hrs but Lake Wallis and her amiable Master are no longer young and not in any hurry. The ferry seems to have been built about 1944. She carries up to 38 passengers with a crew of one. A Lister diesel can give her about eight knots but six or seven will do her unless the wind and the lake look like whipping up. When we travelled with Stan he was contemplating buying a newer and bigger boat but was bothered that this would mean he would have to increase his prices.
At about 0920 the Lister rumbles into life and Lake Wallis moves away from her berth with perhaps 20 adults with a dozen or so kids. Passengers and crew are seated low in the hull. She is like an old private launch with the engine covered by a large flat-topped box, slap in the middle of the boat.
Nearing the Forster - Tuncurry Bridge the launch swings sharply to port and skirts a steep sand island where kids are sliding down the sand dune to end up with a great splash. The launch crosses the next channel past low-lying Cockatoo Island towards the ‘Cut’ which is the entrance to the Wallamba River. A considerable tidal outflow can be felt there and the Lister picks up a few revs to cope. Stan has done this many times but he still keeps his ship’s head lined up on the various official and local knowledge navigation markers and piles.
Along the top of Wallis Island the ferry plods. In the area between Regatta Island and Wallis Island the local people once held picnic regattas. Paddle steamers, early motor launches and sail craft of all types – private and commercial- competed in picnic races while the families ashore tucked into the goodies and egged on the contestants.
At Coomba, a hamlet on the western shores of Wallis Lake, a small jetty pokes out from the shore. Here a cluster of people await their purchases. A run-down public toilet attracts some sighs of relief from some of the intrepid passengers. Coomba was to be a glamour development but something went wrong and the 20 or so homes house retirees in considerable peace. Stores and money change hands and Lake Wallis backs carefully out into the channel and heads onwards.
On the south-western end of Wallis Island is a grand and remarkable two-storey house. It is obviously old and apparently houses a Finnish family who have crops, cattle and the obligatory sauna. Their ‘wharf’ consists of the remains of the steam paddle lighter, or ‘drogher’ Queen. About 40 m long by 10 or 12 m wide, this craft is a wooden boat enthusiast’s dream. Much of the exposed timber remains showing grown timbers and adzed wood working. Stores and monies change hands and off we go again.
Out in the middle of the lake the Lister’s muted growl suddenly fades into silence. Skipper Croad puts down his microphone, takes off his Captain’s hat and replaces it with a chef’s hat. A white apron mysteriously appears, while from a large white locker, good china cups and saucers appear. Within a few minutes Stan is passing around, via the ladies, cups of very hot tea or coffee, biscuits for those that want them and scones for those who prefer. The children get cold soft drinks and or cordial.
As the boat drifts Stan tells us more about the lake, his boat and of the locals. Fifteen minutes after ‘Tea-Oh!’ the diesel awakes, tea remnants disappear into the locker, the tablecloth leaves the top of the engine box and we press on somewhat refreshed and impressed.
The homeward, northward run takes us into shallows. Clumps of weeds slide past close to the hull and Stan keeps his eyes on his marks. He tells us about ‘The Step’. Between the mainland at Wallis Point and Wallis Island is a sand bank known as ‘The Step’. Here the incoming tide rolls over the edge of the Stockyards Channel and forms a sand ‘lip’. Here it is that deeper-draft vessels baulk but the little launch slides up and over, the Lister going flat out. All aboard feel the bow then the rest of the boat lift and then drop as we bump into deeper water. Lake Wallis has nearly completed her run.
She swings to starboard off the rarely-used airfield on Wallis Island and heads down Breckenridge Channel. Past Godwin Island Stan swings to starboard and eases in towards his pile berth. Lake Wallis’s stem settles into the low-tide shore-line mud as Stan secures his berthing lines before waving us ashore over a plank that is strong enough but makes one wonder anyway. Stan makes his personal farewell to every person leaving and then, as we straggle away, turns to and cleans up his place of work.
Stan Croad and his comfortable little launch provided one of the best-value tourist dollars the Grey Wanderers have ever had. More than 30 years later we sometimes talk of him, wondering what became of him. Perhaps one of Afloat’s amazing knowledgeable readers can complete the tale?
A more recent publication by the Coomba Progress Association describes Stan as follows:
“For many years people in Coomba had relied for mail delivery on the services of men like Stan Croad, who had operated excellent ferry services, and delivered so cheerfully and willingly not only their basic needs, but would even shop and bring back a grocery order without charging for this extra service.
Stan Croad sold his operation in 1978 to William and Noni Coombe who only ran the Lake Wallis for a couple of times when they replaced her with the younger and larger vessel - Amaroo. Matt Coombe, William Coombe's son noted "This paved the way for bigger and better vessels, all given the prestigious name of ‘Amaroo’" Manning-Great Lakes Focus BLOG 1st June 2010
Stan died in 1994.
Acknowledgements: We would like to thank Graeme and Winsome Andrews for their contribution and AFLOAT magazine for allowing us to extract a large part of the material in Tea and Scones on Lake Wallis in 1976
Image Source: Peter Emmerson
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
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Queen Anne’s Lace.
The Wild Carrot, Daucus carota, whose common names include wild carrot, bird's nest, bishop's lace, and Queen Anne's lace (North America), is a white, flowering plant in the family Apiaceae, native to temperate regions of Europe and southwest Asia, and naturalized to North America and Australia. Domesticated carrots are cultivars of a subspecies, Daucus carota subsp. sativus.
The plant is a herbaceous, somewhat variable biennial plant that grows between 30 and 60 cm (1 and 2 ft) tall, and is roughly hairy, with a stiff, solid stem. The leaves are tripinnate, finely divided and lacy, and overall triangular in shape. The leaves are bristly and alternate in a pinnate pattern that separates into thin segments. The flowers are small and dull white, clustered in flat, dense umbels. The main identifier is the hairy stem of the wild carrot.
Scientific name: Daucus carota subsp. L.
Taxonomy -
Class: Equisetopsida Subclass: Magnoliidae Superorder: Asteranae
Order: Apiales Family:Apiaceae Genus: Daucus
Common name( s): wild carrot, carrot, Queen Anne’s lace, bird’s nest, devil’s plague
Synonym (s): Carota sylvestr is (Mill.) Rupr., Caucalis carnosa Roth more here
Conservation status: Widespread and not considered to be threatened.
Habitat: Rough grassland, coastal cliffs and dunes.
Key uses: Food and drink.
Known hazards: Wild carrot has some medical properties and is similar in appearance to poisonous species such as poison hemlock (Conium maculatum), water hemlock (Cicuta maculata) and fool's parsley (Aethusa cynapium).
Taxonomy Class: Equisetopsida
Subclass: Magnoliidae Super or der : Asteranae
Order : Apiales Family: Apiaceae
Genus: Daucus (source for the above - Royal Botanical Gardens, Kew, London UK - more information - www.kew.org/plants-fungi/Daucus-carota.htm) picture - Deutschlands Flora in Abbildungen, Jacob Sturm und Johann Georg Sturm (1796) Original Description Echte Möhre, Daucus carota.
The Wild Carrot (Daucus Carota) (a.k.a.Queen Anne's Lace) is thought to have originated on the Iranian Plateau (an area which now includes Afghanistan, Pakistan and Iran). It is abundant in temperate regions across the globe, particularly Western Asia and Europe, and is widely distributed across much of the United States whereCarrot Now and then - wild and domestic it is often found along roadsides, abandoned fields, and pastures.
Cultivated plant species and their sexually-compatible wild relatives often overlap in terms of geographic proximity and phenology. This overlap provides the opportunity for gene flow between crops and their wild relatives. Farmers and breeders are often concerned with the potential for wild allelic contamination into agricultural fields, which can hinder production efficiency.
In many carrot producing regions throughout the world, wild carrot populations can be found growing in close proximity to cultivated carrot fields.
Wild carrot is the progenitor of the cultivated carrot, D. carota subsp. sativus, and the two subspecies are sexually compatible. The cultivated carrot was likely domesticated in Central Asia roughly 1,100 yr ago and is grown worldwide from both open pollinated and hybrid seed.
Wild Carrot mainly occurs in free-draining and slightly acidic soils on rough grassland, coastal cliffs and dunes. It frequently naturalises in fields and gardens.
It is one of many umbelliferous plants to be found growing around the world. Wild carrot appears in many temperate regions of the world, far beyond its Mediterranean and Asian centres of origin where this plant displays great diversity. It is quite possible that ancient cultures in those regions used wild carrot as a herb, and it is also quite likely that the seeds were used medicinally in the Mediterranean region since antiquity (Banga 1958).
Almost certainly the wild and early forms of the domesticated carrot were first used as a medicine before they were used as a root vegetable in the conventional sense of that term today. There is good genetic evidence that wild carrot is the direct progenitor of the cultivated carrot (Simon 2000). Selection for a swollen rooted type suitable for domestic consumption undoubtedly took many centuries.
Both the wild and the cultivated carrots belong to the species Daucus carota. Wild carrot is distinguished by the name Daucus carota, Carota, whereas domesticated carrot belongs to Daucus carota, sativus. As a member of the carrot family it has a long taproot and lacy leaves. Dig up and crush a Wild Carrot root and you will find that it smells just like a carrot.
It is yellowish or ivory in colour, spindle-shaped, slender, firm and woody; a pernicious weed in some areas. It is edible when young but the root (especially the centre) soon gets tough and woody due to the high content of xylem tissue. The domestic carrot is a relative that lacks most of this tissue. The wild carrot has finely divided leaves like that of the domesticated carrot. The leaves, petioles and flower stems may be densely hairy or have no hair. The leaves on the stem are arranged alternately. Flowering wild carrot may grow four feet tall. At the end of the stem is a primary umbel (seed head) made up of numerous individual white flowers and possibly a purple flower in the center together with drooping, narrow bracts on the underside . Plants also may have many secondary umbels produced at any node on the stem below the primary umbel.
Each flower on the umbel produces two seeds. After seed set, the umbel closes upward. Once the seeds have turned brown, they are mature. The roots of wild carrot are typically white. The characteristic odour of carrot is present when any part of the plant is crushed. Spent umbels curl inwards forming a depressed cup. The fruits are covered in hooked spines, which aid dispersal by clinging to the fur of passing animals. Flowering period (in England) is from June to August and the native biennial can reach a height of 90 centimetres.
Wild Carrot is also known as Queen Anne's Lace, Birds Nest Weed, Bees Nest, Devils Plague, garden carrot, Bird's Nest Root, Fools Parsley, Lace Flower, Rantipole, Herbe a dinde and Yarkuki. Herbe a dinde derives from its use as a feed for young turkeys-dinde.
"Daucus" comes from daukos, name given by the Greeks to some members of the Umbelliferae family and it seems to derive from "daîo" : I overheat . Carota means carrot in Latin.
Can you eat carrot flowers? - Yes at your won risk! - Your best bet is to read up on survival or self sufficiency foods, a good source from people who have tried and lived to tell the tale!
As I recall from reading such a survival book, wild carrot flowers (and many others ) are edible. The big caveat is, and I cannot emphasise this too much - be absolutely sure it is Wild Carrot as it is very similar to poison hemlock (which killed Socrates!).
Deep fried carrot flower is supposed to be a delicacy - www.altnature.com/gallery/Wild_Carrot.htm
So on that basis domestic carrot flowers should be edible too.
My friend from What's Cooking America has a useful guide for you - whatscookingamerica.net/EdibleFlowers/EdibleFlowersMain.htm
And another guide for you - www.herbsarespecial.com.au/self-sufficiency/edible-flower...
The Mystery of the Purple Floret
Queen Anne’s Lace is common in North America, Europe and Asia. In the summer it produces beautiful compound flowers that form a carpet of hundreds of tiny white florets. Strangely, quite often you will find a single darkly coloured floret just off center, standing tall above the rest. No one knows why.
Botanists have debated the mystery of the coloured floret in Daucas carota (also known as “Queen Anne’s Lace,” “Wild Carrot,” “Bishop’s Lace,” and “Bird’s Nest”) for at least the last 150 years. Back then some of the most learned botanists believed that the floret was a genetic oddity that provided no service to the plant. Many modern botanists disagree. Some suspect that the coloured floret tricks flying insects into thinking that a bug is already sitting on the flower.
Perhaps this attracts predatory wasps to land hoping to snatch a quick meal. Perhaps the presence of one insect is a signal to others that there is something on this flower worth having. If so, then the floret might entice flying insects to land and thereby help pollinate the plant.
The research that’s been done so far on this question has produced contradictory results. Some naturalists argue that they have found evidence that favours the idea that the dark floret is an insect mimic. Others have presented data that suggests that the floret does nothing to help the plant increase the number of viable seeds it produces, and therefore does nothing to help it propagate its species.
By solving the great debate of its function, new knowledge about the central dark spot and its possible role as an insect attractant could lead to future developments in cultivation as well as in methods for improving agricultural processes in cultivated carrots.
The wild carrot is an aromatic herb that acts as a diuretic, soothes the digestive tract and stimulates the uterus. A wonderfully cleansing medicine, it supports the liver, stimulates the flow of urine and the removal of waste by the kidneys. An infusion is used in the treatment of various complaints including digestive disorders, kidney and bladder diseases and in the treatment of dropsy.
An infusion of the leaves has been used to counter cystitis and kidney stone formation, and to diminish stones that have already formed. Carrot leaves contain significant amounts of porphyrins, which stimulate the pituitary gland and lead to the release of increased levels of sex hormones.
The plant is harvested in July and dried for later use. A warm water infusion of the flowers has been used in the treatment of diabetes. The grated raw root, especially of the cultivated forms, is used as a remedy for threadworms. The root is also used to encourage delayed menstruation.
The root of the wild plant can induce uterine contractions and so should not be used by pregnant women. A tea made from the roots is diuretic and has been used in the treatment of urinary stones.
An infusion is used in the treatment of oedema, flatulent indigestion and menstrual problems. The seed is a traditional 'morning after' contraceptive and there is some evidence to uphold this belief. It requires further investigation. Carrot seeds can be abortifacient and so should not be used by pregnant women.
Ancient folk lore said that to cure epileptic seizures you should eat the dark coloured middle flower of Queen Annes Lace. The flower is also used in ancient rituals an spells, for women to increase fertility and for men to increase potency and sexual desire!
A warm water infusion of the flowers has been used in the treatment of diabetes. The grated raw root, especially of the cultivated forms, is used as a remedy for threadworms.
The root is also used to encourage delayed menstruation. The root of the wild plant can induce uterine contractions and so should not be used by pregnant women.
A tea made from the roots is diuretic and has been used in the treatment of urinary stones. The seeds are diuretic, carminative, emmenagogue and anthelmintic.
An infusion is used in the treatment of oedema, flatulent indigestion and menstrual problems. The seed is a traditional ‘morning after’ contraceptive and there is some evidence to uphold this belief. It requires further investigation. Carrot seeds can be abortifacient and so should not be used by pregnant women.
Queen Annes Lace is the wild progenitor of the domesticated carrot. Although native to the Old World, these white lacy umbels are a familiar sight in the United States and Canada. The medicinal properties of Queen Annes Lace are many. More detail is given below. Its seeds may be collected, dried and used for tea. It is interesting to note that this plant is the closest living relative (on the basis of family and medicinal activity) to Silphion, which was picked and used by the Romans as a culinary spice and contraceptive until it became extinct in the first century AD. Apparently it was extremely effective. Supposedly Nero was given the last remaining root.
In the late 1980s scientists began studying Queen Annes Lace and found that (in mice at least) it blocked the production of progesterone and inhibited fetal and ovarian growth. Check out thecontraception page of the Museum.
Queen Anne's Lace is quite an aggressive plant. It is a biennial, so lives only 2 years, thus never forms a big root mass like daisies or other perennial wildflowers. However, it is such a prolific seeder, it does spread rapidly, and is almost impossible to eradicate. It is an alien, but one of the ones that's been in the US since colonial times. It came across the ocean in sacks of grain, probably with the Pilgrims. It's now established in every State. It's beautiful in the wildflower meadow I am not so sure in the garden.
If you want to plant it, easiest way is to gather a handful of the seeds from a plant dying down in the fall. They seem to be everywhere. But there is also another option. Try an annual named Ammi majus. It's the flower common in the cut flower trade as "Queen Anne's Lace", and is also sometimes called "Bishop's Flower." The two look very similar, but the latter doesn't last in your soil forever as Daucus does.
Today, in some parts of rural United States, this herb is used as a sort of morning-after contraceptive by women who drink a teaspoonful of the seeds with a glass of water immediately after sex. The seeds are also used for the prevention and washing out of gravel and urinary stones. As they are high in volatile oil, some find them soothing to the digestive system, useful for colic and flatulence. Be very, very sure that if you do decide to harvest any part of Queen Annes Lace for consumption that you have the correct plant. It is similar to Hemlock (Conium maculatum), a herb which was used medicinally but is now seldom used because of its high toxicity.
The Wild Carrot is still very much prevalent, particularly in the US where it was introduced from Europe and is the genetic source of edible carrots. Wild Carrot is found in sandy or gravelly soils and in wets areas. It is abundant west of the Cascades in Oregon and Washington where it is classed as a Class C noxious weed. Wild Carrot causes problems in pastures, hay fields, Christmas tree farms, grass seed fields and most other open areas that are not tilled annually. It is an especially serious threat in areas where carrot seed is produced because it hybridizes with the crop and ruins the seed.
Washington state has gone so far as to quarantine the plants to prevent any further escapes into its wildlands and agricultural regions. It is illegal to transport, buy, sell or distribute seed there. The penalty is a $5,000 fine.
Wild Cwild carrot and rosettearrot is easy to grow, it prefers a sunny position and a well-drained neutral to alkaline soil. Considered an obnoxious weed by some, it can spread very quickly. Its root is small and spindle shaped, whitish, slender and hard, (tender when young), but soon gets tough, with a strong aromatic smell. Harvest entire plant in July or when flowers bloom, and dry for later herb use. Collect edible roots and shoots in spring when tender. Gather seed in autumn (the fall).
There is no record of wild carrot toxicity in the US but in Europe wild carrot has been known to be mildly toxic to horses and cattle. A high concentration of wild carrot in hay is potentially a problem because livestock eat hay less selectively than green forage. Sheep appear to graze wild carrot without any harmful effect. Find out about some of the myths as to why Queen Annes Lace is so called click here.
wild carrot plantThis plant is a biennial which grows, in its second year, from a taproot (the carrot) to a height of two to four feet. The stems are erect and branched; both stems and leaves are covered with short coarse hairs.
The leaves are very finely divided; the botanical term is tri-pinnate. When a leaf is composed of a number of lateral leaflets, it is said to be pinnate or feather-like; and when these lateral divisions are themselves pinnated, it is said to be bi-pinnate, or twice-feathered. The leaves of this plant are like that but some of the lower leaves are still more divided and become tri-pinnate. The lower leaves are considerably larger than the upper ones, and their arrangement on the main stem is alternate. All of these leaves embrace the stem with a sheathing base.
wild carrot flowerThe attractive two to four inch "flower" is actually a compound inflorescence made up of many small flowers. The umbels of the flowers are terminal and composed of many rays. The flowers themselves are very small, but from their whiteness and number, present a very conspicuous appearance. The central flower of each umbel is often purple.
During the flowering period the head is nearly flat or slightly convex, but as the seeds ripen the form becomes very cup-like; hence one of the popular names for this plant is "bird's nest." The seeds are covered with numerous little bristles arranged in five rows. For more photos click here.
Like their domestic cousins, wild carrot roots can be eaten. However, they are only edible when very young. After that, they are too tough and woody. The flowers are also edible. Flower clusters can be french fried for a carrot-flavoured, quite attractive dish.
“To love is to admire with the heart; to admire is to love with the mind”
~Theophile Gautier
Rules of Composition: Rule of Thirds
This is one my assignments that I have to submit to my photography class at the moment. I use the rules of thirds to capture this shot. BTW, I haven't found a name for this toy, any suggestions?
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Secretary of State Mike Pompeo and Secretary of the Treasury Steven Mnuchin speak to reporters Tuesday, Sept. 10, 2019, in the James S. Brady Press Briefing Room of the White House. (Official White House Photo by Andrea Hanks)
I was so fortunate to get invited to visit the Exploratorium, first time in 6 years (never been to their new site).
This was (I think) a water drip tray with some sort of backlighted plexi filter. Amazing patterns for photography, I shot most of these using in-camera b&w. I colorized this in post. But, I no longer have any "real" photo editing software, so my editing has been *really* basic stuff these past few weeks.
I got a few more images I'll probably upload tomorrow.
And I'm supposed to shoot some light painting tomorrow, that'll be a first for me. Never experimented with light painting before. Cool!
Enjoying these majestic views while deep in the woods late this afternoon. It's nice to be away from the city life once in a while. This was during me and my cousin's short adventure to the Land of Medicine Buddha around Soquel, CA. We went late since I had to wait ‘til she got off work. After trekking thru winding roads, we reached the place just before 4 p.m. We hiked a bit on the trail (started from the Land of Medicine Buddha redwood sign), taking in the majestic redwoods and views along the way. Due to time constraints, we quickly headed back and explored just around the vicinity, checking out the various displays, prayer wheels and whatnot. We then left the place shortly before 6 p.m., and grabbed dinner at a Dairy Queen place and ate it at Capitola Beach. It was a brief but nice outing to enjoy the outdoors. ‘Til next time, safe travels! (Outing taken place late Thursday, September 23, 2021)
*The Land of Medicine Buddha has the presence of a Buddhist retreat, made visible thru colorful prayer flags and gentle reminders to keep voices low, gives a feeling of safety and community at the location. From the bridge at the end of Prescott Road, head up the hill to the left and look for the wide dirt trail that leads you into the forest. A small creek runs thru a ravine and a thick canopy of redwoods and deciduous trees shades almost the entire length of trail. The forest floor is thick with ferns and fallen logs. If you love the quietness of the forest, explore the Land of Medicine Buddha! Additionally, the Land of Medicine Buddha provides classes and space for retreats, at the foothills of the Santa Cruz Mountains, just over a mile from Soquel Village. They are an active Buddhist community. Thru teaching, meditation, prayer, retreat and community service, they engage in preserving and transmitting the Mahayana Buddhist tradition and values, specifically in the lineage of Lama Tsongkhapa… Certainly, this place is worth the visit!
Those who do not live in Scotland may be unaware that this YES sign indicates an affirmative response to the question "Should Scotland be an independent country?".
In a referendum to be held on 18 September 2014 this issue will be decided by those who are registered to vote in Scotland.
In my view, the underlying belief of those on the YES side is that it is right and proper for a nation to aspire to govern itself, that it may experience difficulties in doing so but in working through those difficulties it will develop the maturity required to hold its head high in the community of nations. The YES side believes that now is the time to "grasp the thistle".
The NO side appears to hold the view either (i) that a 'mature nation' status is not worth working for or (ii) that, while it might be desirable to become a mature nation, the inevitable difficulties could not be overcome.
I listened live to the 2 hours and 40 minutes of this parliamentary debate and thought that Mike Russell's ten minute winding-up speech (transcript below) characterised by its positive approach, exemplified that contrast with the negative approach of his opponents during that debate.
THE PARLIAMENT OF SCOTS (12 AUGUST 2014)
DEBATE ON THE ECONOMIC OPPORTUNITIES OF INDEPENDENCE
WINDING UP SPEECH FROM MIKE RUSSELL
Official report:-
The Deputy Presiding Officer:
Thank you. I call Michael Russell to wind up the debate. Cabinet secretary, you have until 5 o’clock.
16:49
The Cabinet Secretary for Education and Lifelong Learning (Michael Russell):
Let me give the chamber a revelation: I think that on the evidence of this afternoon’s debate there are no votes in this chamber that are up for grabs in the referendum and that it is pretty clear that there are no undecideds on these benches.
However, there might be some undecideds watching at home. I suspect that they might well have turned off by now, particularly after Jenny Marra’s speech, but if they are still watching I suggest to them that, if they are trying to come to a judgment on the basis of this debate—there are people in the gallery who might want to make such a judgment—they should do so on the basis of what has been the positive view and what has been the negative view.
Look at the positive view that all my colleagues in the chamber have expressed and at the endless, destructive negativity that we have heard from Labour, the Liberals and the Tories.
I will start with the clearest view of the currency issue. As ever, the First Minister got it right in the chamber last week. I will repeat his exact words. He said:
“It is our pound, and we are keeping it.”
There are no ifs and no buts. That is the guarantee. That is plan A to Z. For the benefit of those who are still trying to frighten people out of what is theirs—people such as Mr Henry, who asserted that Scots will not be able to buy food or go on holiday after independence, and Mr Fraser, who tellingly referred—
Hugh Henry:
Will the cabinet secretary take an intervention?
Michael Russell:
No, I will not. I am sorry; one contribution from Mr Henry in an afternoon is more than enough.
Mr Fraser referred to the currency belonging to someone else, which was very interesting. I will repeat what the First Minister said so that there can be no doubt. He said:
“It is our pound, and we are keeping it.”—[Official Report, 7 August 2014; c 33159.]
Hugh Henry:
On a point of order, Presiding Officer. Mr Russell has just made a statement in which he attributed words to me that I did not say. Is it in order for members to fabricate words that were not said during the debate and attribute them to other members? [Interruption.]
The Deputy Presiding Officer:
Order, please. What members say in their speeches is entirely up to them. It is not for me to decide what they should and should not say. However, the Official Report undoubtedly shows every word that has been said in the chamber.
Michael Russell:
I am sure that Mr Henry will reflect on that when he looks at what he has said about me and my writings. I am sure that he will think about that carefully. Mr Henry’s words speak for themselves, as does his depressing demeanour.
The debate has been one of great contrasts. I go back to positivity and negativity. My friend Mr Swinney talked about ambition, achievement, resources, potential and raising the eyes of Scotland to what can be achieved. In my area of special interest, he talked about the need for transformative childcare and the world-leading position of Scottish higher education. What was the result? [Interruption.]
The Deputy Presiding Officer:
Order, please.
Michael Russell:
The result was that, 10 minutes in, Mr Rennie gave the knee-jerk plan B its first outing. Mr Brown then leapt back in. Project fear was in there working hard.
The other side of the unionist coin then showed itself. It was quite stunning. Alex Johnstone chuntered on from a sedentary position about the fact that everything that was mentioned was a product of the wonderful union, but he was interrupted by Jenny Marra, who said that everything was the result of the failed SNP. There we have it: that is a contrast. Labour hates the SNP more than anybody else, and the Tories love the union more than anything else. Neither of those is a prescription for a safe future.
Believing that a Labour Government will remove weapons of mass destruction is also not a prescription for a safe future. There is no evidence for that whatsoever. How else are we to get rid of weapons of mass destruction, except by independence? That is the reality.
It was telling that, when Mr Swinney mentioned Trident and what we need to do, the reaction from Labour and the Tories and even from the sole Lib Dem who was there was derision. They want to put bombs before bairns and Trident before teachers. That is their shame.
Let me carry on.
Neil Bibby (West Scotland) (Lab):
Will the cabinet secretary take an intervention?
Michael Russell:
No, I will not take an intervention. I am sorry.
The reality of the debate was shown clearly. It was about that negative view. Nothing could be done. We had to ask what that was about. Maureen Watt got it 100 per cent right. She analysed the debate early on. The great fear that exists in project fear is the could-should-must progression. If any member on the Labour benches could admit that Scotland could be independent—I will come to Elaine Murray in a moment, as she did that momentarily—the whole fantasy will collapse.
The reason why it collapses is that that leads to the argument that Scotland should be independent, which is the argument that my colleagues made this afternoon. It goes a step further to the argument that Scotland must be independent.
The biggest illustration of that was given by Malcolm Chisholm. Yet again, I was saddened by a speech by Malcolm Chisholm. I have admiration and time for Malcolm Chisholm; he is laughing, but I do. I do not think that he and I differ very much in some of the things that we want to see, but here is the difference. [Interruption.]
The Presiding Officer (Tricia Marwick):
Order.
Michael Russell:
Labour members want to laugh at this, because it is beginning to strike home.
The difference is that I and my colleagues have a plan for how to achieve those things. We know how poverty can be eliminated in Scotland. We know—
Iain Gray:
Will the minister give way?
Michael Russell:
No—I want to finish my point.
I know that it is annoying to Iain Gray, but the truth of the matter is that it is possible to have a plan to change Scotland and to do those things. We can set out with those intentions and we can work hard to meet them, or we can—as Labour members would have us do—simply keep our fingers crossed that we get a Labour Government that could possibly pursue the things that they want to see in Scotland rather than the things that Ed Balls and Miliband want to see south of the border. I say to Malcolm Chisholm that that is not a plan: that is keeping your fingers crossed and putting party before principle.
Malcolm Chisholm:
The cabinet secretary may have a plan, but the whole point of all the Labour speeches has been to point out that it is not a plan that can be delivered without an economic foundation. Before he gives us any more claptrap about the negativity of Labour members, will he reflect on the fact that by far the biggest and most disgraceful scare of the referendum campaign is what the yes side is saying about the NHS? [Interruption.]
The Presiding Officer:
Order! Order!
Michael Russell:
How interesting. Mr Chisholm is being wildly applauded by Jackson Carlaw, who—
The Presiding Officer:
Sit down, Mr Russell.
That is quite enough. There is far too much heckling and far too much noise. The minister is speaking, so allow him to do so. This is a Parliament; it is not a public meeting or a hustings. There are people in Scotland who are listening to the debate. Make it worthy of them.
Michael Russell:
Why was Jackson Carlaw—the person who got so agitated about the issue of the NHS last week—applauding so much? Because we have hit the nail on the head. If the financial power lies outside Scotland, the decision on the priorities of Scotland and how to deliver those priorities will always lie outside Scotland, too. For every £100 by which expenditure is reduced south of the border through privatisation of the health service—privatisation that was started by Labour—£10 is lost from the Scottish budget.
Neil Findlay:
Will the cabinet secretary give way?
Michael Russell:
No.
For every £100 that is removed from public expenditure through privatisation of higher education south of the border, we lose £10. That is the reality. That is the nub of the debate. We can choose to make our decisions in Scotland, to take our responsibilities in Scotland and to have opportunities in Scotland, or we can always dance to someone else’s tune.
Malcolm Chisholm wants to see the progress in Scotland that I want to see. I repeat what I said earlier: the SNP has the plan to do that. It puts its confidence—[Interruption.] We can hear the Tories laughing; we can always hear the Tories laughing when the people of Scotland want to progress.
Here is the choice: we can say to the people of Scotland, “Take responsibility, and then you will have the opportunity to change this country for the better”; or we can tell them to listen to those who will not accept the reality and who will always keep their fingers crossed that England votes the same way that they do. Those voices will always disappoint and let down the people of Scotland. That has got to stop.
The lesson this afternoon is entirely clear: there is a jobs plan for an independent Scotland, there is a finance plan for an independent Scotland, there is a currency plan for an independent Scotland and there is a plan to make an independent Scotland the country that it could and should be. The people who stand in the way of that are this unholy alliance between Labour and the Tories.
The Presiding Officer:
You need to finish, cabinet secretary.
Michael Russell:
They are the people who have plenty of ambition for their political parties and none for their country. [Applause.]
The Presiding Officer:
Order.
That concludes the debate on the economic opportunities of independence.
----------------------------------------------------------------------------------------------------
SUNDAY TIMES - 21st September 2014
Michael Russell
In a sense I have been campaigning for independence across Scotland not just in the last four weeks but for forty years. But I don't think I have ever had such an emotional political experience as last Saturday standing in the Station Square in Oban listening to Dougie Maclean sing his anthem of Scottishness, Caledonia.
It didn't matter that someone had forgotten to bring an extension lead, so there was no power for the microphone. It was irrelevant that an early sea mist, now burning off, had prevented the First Minister from making a helicopter campaign stop and equally irrelevant was the stretch limo with a huge "NO thanks" logo tied round it ( one of the bizzarest sights of the campaign) that kept cruising past. Dougie sang and 250 people - young and old, from all parties but mostly none, sang along with a quiet intensity that brought tears to my eyes and to eyes of many others.
That event started a whole day of remarkable activities - a car cavalcade of more than sixty vehicles that wound its way across Mid Argyll with so many participants that a church hall in Lochgilphead had to be commandeered to feed them, a flash mob of dancers and musicians on a green beside the sea and finally a laser show lighting up a huge YES sign on the island of Kerrera in the bay facing the town.
This was politics, but not as I have known it. YES Scotland started out as an umbrella organisation and ended up as a mass movement . It's creativity and energy was replicated not just across my constituency - in Dunoon, in Campbeltown, in Rothesay, in Lochgoilhead, on Islay and on Mull - but across the whole of Scotland in a diverse, multi layered movement that demanded and will go on demanding not only attention but also real change.
Although Thursday night delivered a bitter blow to many of those who had invested so much of themselves in that movement I do not think it will go away. Indeed it must not go away. It's commitment, enthusiasm and vigour are needed as never before if Scotland is to move forward united.
It is this movement that can really test the will of politicians to deliver the new dispensation that the Westminster parties promised in the final days of the campaign and it is this movement that can press an agenda that is focussed on outcomes which benefit and empower real people not just the political classes.
As Alex Salmond said on Friday in his moving resignation statement, holding Westminster to account for the delivery of its new promises has to be done by the whole of Scotland and that process needs to be lead by citizens themselves. If it changes and benefits all the parts of the present UK so much the better as long as that not an excuse for endless delay.
I have undertaken more than sixty public meetings in Argyll & Bute over the past nine months. One of the biggest took place on Ardrishaig the night before the Dougie MacLean event at which I shared a platform with Professor Allan MacInnes and Lesley Riddoch, both longstanding friends. Lesley spoke about this new politics too and was given a standing ovation by the over capacity crowd jammed into a tiny church hall. That enthusiasm reflected growing demand for a different set of priorities and a changed way of doing things - bottom up not top down.
That is what independence is but it's core values - fairness, equity, hope, opportunity, equality, justice - go well beyond the the 1.6 million who chose that option. Lots of voters on both sides were sending a message about the need for those things that cannot now be ignored.
That is why the "faster, safer and better" change offered in the 3 UK leaders Daily Record "Vow" was in the end persuasive for so many. They disagreed on the means but not on the ends.
So that is also why the SNP as the Scottish Government has to be an active part of the process now being outlined by the UK Government. We must heed the urgings of those we have worked with and take part in a constructive, urgent and focussed process to decide on the range of powers required and accelerate their introduction whilst ensuring that they are devolved further into communities and made capable of adaptation to local need and local direction.
That will not be easy for anyone but it is the essential next step - a step demanded by Thursday's result and which can also act as a unifying mechanism. We can help make a new Team Scotland and learn from it though it will be a Team Scotland weakened when not led by Alex Salmond, to whom the whole country owes an enormous political debt.
I am undoubtedly still a nationalist and I want to see independence. But this referendum campaign, undertaken in an Indian summer of warm sunshine amongst the most beautiful scenery in the world, criss crossing sea lochs, sailing to islands and motoring amongst mountains, has taught me a great deal.
A passionate desire for a better country is shared by many of our fellow citizens, young and old inside and outside conventional politics. A different set of priorities and policies - some already introduced by an SNP Government over the past 7 years - is possible. Alienation from politics and society isn't inevitable because inspiration casts out indifference. Decisions are better when made with people, not for them.
I have had the great pleasure of an invigorating campaign in Dalmally and Dunoon, on Luing and Lismore, through Glendaruel (where I live) and Glen Barr and by the shores of Loch Etive and Loch Riddon. The conclusion of those journeys was not the one I hoped for a month ago when the Sunday Times asked me to contribute at the end of the campaign. But the people have spoken and when that happens politicians have to listen - wherever they are.
(More details later, as time permits)
***************************
As I've noted in other sets of photos here on Flickr, I've been lucky enough to visit Rome dozens of times since I first celebrated a solitary birthday there back in 1972. Since then, I've often come alone (usually on business trips to lecture about various aspects of software development), and I've sometimes managed to bring various children and/or my wife. This time, like many other trips, I was alone.
On most of my trips, I make a point of visiting Piazza del Popolo at least once -- because there are always interesting scenes to photograph, with a combination of tourists, students, lovers, and amateur musicians. This time, there was a Michael Jackson impersonator -- who, at least from a distance, seemed to mimic MJ's fluid moves pretty well. And there was an electric guitarist, but it turned out that he could only play instrumentals -- and he tended to play the same songs, over and over again.
I photographed people in Piazza del Popolo on the first and last days of my visit; but I also spent a couple hours in Piazza Santa Margarita in Trastevere, where there was a wedding underway. And I strolled a block or two from my hotel to Piazza Cavour, where the entire piazza had been off-limits for years because of reconstruction work. But the reconstruction is over, the piazza is open, and I was lucky enough to be there during the "golden hour" before sunset, where I got some interesting photos of the local people enjoying a balmy early-summer evening.
On Sunday morning, I decided to visit the enormous "flea market" at Porta Portensa, where I did my best to get a few interesting shots of the shoppers, tourists, and long rows of merchant stalls filled with various forms of cheap, tacky merchandise. It was quite an experience...
As I have on past occasions, I took thousands of photos during my week-long visit, from which I select a few dozen to upload to Flickr. Hopefully they'll give you a sense of what it's like here in the Eternal City ...
To paraphrase Nargaroth:
"Katttt! Du fucking wankerzs! Katttt!"
Actually this is not my design but found randomly on Metal-Archives forum a few years ago.
Scooting along the sea wall at Teignmouth with a northbound express to London Paddington is Great Western Railway Class 43, 43176, still wearing the old Neon Blue of predecessor First Great Western.
The Western Region was the first of the British Rail regions to introduce the Class 43 HST, and had also been the testing ground of the original Class 41 prototype back in the early 1970's. The first HST operations on the Western Region was carried out on the 4th October, 1976, but 125mph speeds could only be carried out on certain sections of the line, although by 1980 as many sections of 125mph running had been introduced as possible. Initially, services only ran between London Paddington, Oxford, Swindon, Bristol Temple Meads, Cardiff and Swansea, although in 1979 a full service was provided to the South West of England including Exeter, Paignton, Plymouth, Newquay and Penzance.
The introduction of the HST services absolutely revolutionised the route, with the fastest morning services from Plymouth to London taking just under 3 hours instead of the previous 5 to 6. Additionally, the HST's saw off many of the loco-hauled operations on this route, including the much-loved Class 52 'Western' diesel hydraulic locomotives. Class 50's from the West Coast Mainline began to take over on many loco-hauled services, but these were slowly pensioned off to other routes, and very soon services out of London Paddington were exclusively operated by HST's, although Class 47's soldiered on until about 2004.
The Western Region was also known for its large amounts of developments to the HST fleet. Originally, the Class 43's and their HST sets were powered by Paxman Valenta V12 engines that were also used in the Upholder/Victoria class submarines. These engines had 2,250hp at their disposal and could whisk the Class 43 powercars to their record breaking top speed of 148mph, although in routine operation these trains never went above 125mph. However, by the late 1980's it was apparent that the Valenta engines were starting to look their age, and a variety of alternatives were analysed.
For a period of 9 years, 43167 to 43170 were trialled with Mirrlees Blackstone MB190 engines, but proved an unsuccessful replacement for the Valenta's. In 1987, Paxman began development of an updated version of the Valenta dubbed the VP185. Trials began in 1991, and an agreement to commence installing these engines to members of the fleet was signed in 1993. A qualifying requirement for the trial was that the engine should undergo a British Rail Type Test which was carried out between December 1993 and February 1994. The test involved completion of 3,000 cycles, each of 10 minutes duration, with four minutes at the maximum power of 3,500hp and six minutes at idle, simulating the typical 'on-off' nature of IC125 duty. The successful results of the test cleared the way for installation of a VP185 in Power Car 43170 at Plymouth Laira Depot for in-service trials in the summer of 1994. Power car 43170 entered service on 22 September 1994, being named 'Edward Paxman' to commemorate the event.
During the late 1990's 25 HST power cars were re-engined with Paxman 12VP185L engines in order to improve fuel consumption and reduce emissions, but these engines have proved less reliable in service than hoped. However, the 12VP185L was introduced fleet-wide within the Australian XPT series, a small fleet of HST sets built for the CountryLink services of Australia.
The very last VP185 engine to be manufactured at Paxman's Colchester Works was despatched from the factory on 15th September, 2003, for duty with Midland Mainline. At the time Midland Mainline operated 18 of these powercars, whilst First Great Western operated 4.
On the 4th February, 1996, the Western Region became the first private franchise to operate following the privatisation of British Rail in 1994, this being under management of Great Western Trains, a subsidiary of the bus company Badgerline. HST powercars were outshopped in a very pleasing and striking Green and Ivory livery, which took us folks here in the South West by total surprise and admiration.
However, dark clouds arose with privatisation, the first being on the 19th September, 1997, at Southall, when a Bristol to London service hauled by 43173 smashed into a freight train after its defective Advanced Warning System (AWS) failed to register two amber and a red signal, with the result of 7 deaths and 139 injuries.
In March 1998, Badgerline was taken completely under the ownership of First Group, who promptly rebranded the franchise as of December the same year as First Great Western, revising the livery with a golden band that made the HST's look something like a Golden Virginia cigarette packet, being affectionately dubbed 'Fag Packet' livery. FGW's new ownership however was mired in yet another devastating crash, this time on October 5th, 1999, when a Thames Trains Class 165 overshot a red signal on its way out of London Paddington and smashed into the front of an approaching HST hauled by 43011 at Ladbroke Grove, resulting in the leading trailer of the 165 exploding and setting fire to the First Class carriages, with the result of 31 deaths and 523 injuries.
The most recent fatal crash of a First Great Western HST was on the 4th November, 2004, at Ufton Nervet, where 43018 operating an evening train to Paignton struck a car that had been deliberately parked on a Level Crossing caused by Brian Drysdale, a chef at the nearby Wokefield Park Hotel, committing suicide. Upon striking the car at 125mph, the HST essentially took-off and smashed down a few hundred yards down the line, killing 7 and injuring 71.
In 2005, First Great Western, in cooperation with leasing company Angel Trains and MTU of Germany, set about replacing the original Paxman Valenta engines of the 1970's with brand new MTU 16V 4000 engines, intending to extend the life of the HST's by another 20 years. Engine changes began with 43009 and 43004, together with a new livery that is currently worn today. Over the next two years, the Class 43's engines were replaced, the last three powercars, 43002, 43003 and 43034, making their final journeys under their original engines in December 2007.
Today the HST reliability and efficiency has been increased massively thanks to the new MTU engines, and First Great Western continues to carry out widespread operation of these plucky and powerful trains. The company has increased capacity with different Buffet cars, being reduced to Bar/Bistro's, and the conversion of many First Class trailers to Standard Class. In addition, as of September 21st, 2015, First Great Western underwent a major rebrand, taking a leaf from bygone days to change their entire image to the classic Great Western Railway prior to 1948's nationalisation. Sets are now being painted into Brunswick Green, interiors are being refreshed, and the First brand is being dropped from the name, replaced by what is now the new reimagining of the Great Western Railway.
However, time may be running short for HST's on the Great Western, as the new Class 800 Bi-Mode InterCity Express Programme intends to see these 39 year old trains retired by 2025. In the mean time, these services continue to be an integral part of the InterCity network to the South and West of London.
Trip to Sao Paulo, Campinas, Curitiba, Joinville, Sao Paulo (four days)
Advertisement in French for „République Fédérale d‘Allemagne“ (Federal Republic of Germany) in a restaurant in Joinville, Brazil.
I looked at it and had the feeling that I had seen the place before. Then it dawned on me that it was the „Hotel zum Bären“ in Meersburg, on the banks of Lake Constance, Germany.
(compare it to my Meersburg photos...)
Hey Partner! I created this mosaic with color and design in mind. Each of these photos speaks to me on one of those levels and just makes me happy! I just looked through everyone else's mosaics and love pretty much all of them. My kitchen is mostly aqua (love pic #1 for that reason) so for a main color that would be great. I spend a lot of my time in the kitchen so I love to have pretty things hanging out in there.
1. my kitchen, 2. Organic Kitchen Towel & Coasters, 3. Dish Towels, 4. www.flickr.com/photos/misseskwittys/520223767/, 5. Hot Pad in Moda Arcadia, 6. ticker tape progress, 7. table runner2, 8. dishmat2, 9. Front of Hexagon Hotpad, 10. Doll quilt, 11. Nine Patch Quilt Along Progress, 12. another one, 13. Star quilt in progress, 14. Bridget's Pinwheel Quilt, 15. star quilt 2, 16. Stay-Put Kitchen Towel
Created with fd's Flickr Toys
Are you ready?
Hurry over to Black Fair event to grab your Ricielli Azzy Lingerie.. you wont be sorry as it fits
Legacy and Maitreya
Grab your Link Below:
Event
maps.secondlife.com/secondlife/Black%20Caste/126/127/20
Im wearing the following:
Ricielli Azzy Lingerie & Hud (Black Fair Exclusive)
DeeTaleZ Addision Freckles Mixed Skin
MOON{HAIR}. 21 Hours
Legacy Body Classic Fit Tweaked by me
Lelukta evo Fleur Head
Shot With:
Trompe Loeil - Backcountry Camp Tent Wrangell
Get it here:
Ready to do the night shift on the 421 to London via quite a few places as I only fed it out as far as Preston before the night car took over & did the rest of the service.
I never plan my churchcrawling to see anything in particular I have no idea what I will see when I go to visit a church, I do no research beforehand, instead prefer to let my impressions lead me to take shots.
It has served me well.
So, in planning a day out, I will look on Google maps, find churches to visit and come up with a plan, but it rarely perfect. Like last weekend, when I planned the day, I failed to include Cobham.
Thankfully, the lady at Meopham said I should go, look at the brasses and eat at the Leather Bottle opposite.
Good advice.
Cobham is a little way of the busy A2 as that road nears London. It has eight lanes and is usually a racetrack, when not jammed. Cobham is signposted, you might think it is a suburb of Gravesend.
But it is an attractve village, all timber framed houses and pubs, with a huge church on the hill overlooking the main road passing through the village.
We did park at the pub, and I walked up the hill to the church, which was open, its huge and grand interior opening up before me, and looking down the nave I could see the tomb in the middle of the chancel, with the pavement of 17 fine brasses laid out before it.
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In a county with more memorial brasses than any other, Cobham takes pride of place, with a set of nineteen, the majority of which have been grouped together in the chancel. The church consists of a thirteenth-century chancel, and fourteenth-century nave, aisles and west tower. In 1362 the church was refounded as a college by Sir John de Cobham, and the medieval domestic buildings survive to the south of the church. The south wall of the chancel displays several items of interest. There is a fine double piscina which has been moved further west of its original position. The latter is now occupied by an elaborate fourteenth-century piscina, with a finely wrought canopy of three arches and a parapet of quatrefoils and leaves. Next to it is a slightly plainer sedilia of three equal arches. The last feature of note is the stairway in the south-east corner of the chancel which led to a gallery over the altar - a unique feature in Kent. In the centre of the chancel is the alabaster table tomb of Sir George Brooke (d. 1558). It was badly damaged when a beam fell on it in the eighteenth century and is much restored. In front of the monument are sixteen of the medieval brasses, brought here from other parts of the church, the most interesting of which are: Sir John de Cobham (d. 1407), founder of the college, who is seen holding a lovely spired church in his hands; Sir Nicholas Hawkberk (d. 1407) - a super visor hinges from his face; William Tanner (d. 1418) the first master of the collegiate foundation.
www.kentchurches.info/church.asp?p=Cobham
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COBHAM.
NORTHWARD from Cookstone lies Cobham, a very small part of which is within the hundred of Hoo.
THE PARISH of Cobham is rather an unfrequented place, not having any road of traffic through it. It is a healthy and rather a pleasant situation, tho' the woods and foliage in Cobham-park give it in general a gloomy appearance; it extends about two miles and a half from east to west, and a mile and a half from north to south; it contains about two thousand nine hundred and fifty acres of land, seventy houses, exclusive of the college, about seven hundred and sixty inhabitants. Cobham park, having the mansion of Cobham-hall situated in a vale within it, contains the greatest part of the parish; on an eminence in the park, about a mile from the house, is a costly mausoleum, built pursuant to the will of the late earl, as a burial place for himself and family, which being finished, his body, which was deposited in the church, was brought hither, and laid in it. The building is a conspicuous object to a considerable distance round it. It stands on Williams's-hill, on a spot of ground where it is said there was once a chapel. This elegant structure is octangular, built of Portland stone, the columns at each angle supporting a sarcophagus, the top terminating with a quadrangular pyramid over the vault, which has sixteen recesses or burial places in it, besides those for the late earl and his countess; there is a chapel elegantly sitted up, the windows of which are of stained glass, and ornamented with Brocotello marble. The soil is various; strong good mould, chalk, and some gravel, and is in general accounted a good wheat land. The village is situated on high ground, in the south west part of the parish, having the church within it, from which there is a most extensive view southwestward over the country; adjoining to the church yard is Cobham college, and at the west end of the street the parsonage, the property and residence of Mr. Pemble. At a small distance further is the estate of Outlets, and at the western boundary of the parish the manor of Henhurst; Cobham mount is situated about a quarter of a mile's distance from the Shinglewell road, which runs along the northern side of this parish, by the pales of the park. The northeast parts adjoining Cobham-park, formerly called the out park grounds, are covered with coppice woods.
The antient Roman road, or Watling-street-way, shews itself very plainly from Shinglewell hither, in its way to Rochester, with the hedges standing on it, sometimes on the right and sometimes on the left of the present road, and at other times falling in with it. It goes on to Cobham-park, where the pales seem to stand on it for some little space, soon after which it leaves them, as may be seen in the passage out of the north gate of the park, where the way crosses it, from thence it runs into a thick wood, where it is not to be followed. At the north west boundary of this parish, adjoining the above road, is a water, called St. Thomas's-well, probably from the use made of it by St. Thomas Becket in his journeyings through these parts.
Our HERBALISTS have taken notice of the following scarce plants, growing in this parish, viz.
Pneumonanthe, Calathian violet.
Trachelium majus, blue and also white Canterbury bells, found under Cobham park pales, in the road from Shinglewell to Rochester.
Chamæpitys, ground pine of several sorts.
Tragoriganum, goats marjorom, or organy, near Cobham house.
Lamium luteum etiam rubrum, the yellow archangel, as also the red, found in Cobham woods.
Lautana five viburnum, the wayfaring tree. (fn. 1)
¶Narcissus sylvestris pallidus calyce luteo, the wild English daffodil, observed by Mr. Thorpe of Bexley, in a moist place or two in Cobham park.
COBHAM is within the ECCLESIASTICAL JURISDICTION of the diocese and deanry of Rochester. The church, which is dedicated to St. Mary Magdalen, is a handsome spacious building, consisting of three isles and a large chancel, and has a good tower at the west end of it, with a ring of bells.
¶Among other monuments and inscriptions in it, in the middle of the chancel is a most noble monument of white marble, on which lie the essigies of Sir George Brooke lord Cobham, governor of Calais, K. G. and his wife, in full proportion; the figures and names, of their children, ten sons and four daughters, were likewise cut in marble round it; he died in 1558. This fine piece of sculpture seems once to have had a canopy of marble over it, which, with the pillars that supported it, and many pieces of the figures, now lie broken and scattered upon the tomb. It was erected by his son, Sir Wm. Brooke, in 1561, arms, Brooke quartering Cobham, and seven other coats within the garter. Almost the whole of the pavement of this chancel is covered with the gravestones of the family of Cobham and Brooke, with several of the brasses remaining on them, though so very loose, that in all probability they will soon be purloined, as numbers of the same sort were by some workmen a few years ago. Those which remain are as follows: a brass plate and figure, and inscription in French, in very antient capitals, cut round the edge of the stone, for dame Joan de Cobham; a brass plate and figure in armour, with a like inscription, south of the former, for Thomas de Cobham, and for Maud, the wife of Sir Thomas Cobeham, who died in 13 3 Richard II. another of the like sort, south of the last, with the figure of a man in armour, holding a church in his hands, for John de Cobham, founder of this place. On another, south of the former, on brass, on a chevron three lions rampant, and the same impaling three roundles, a file of three points in chief, and the figure of a woman, and round the verge of the stone, a French inscription in brass, for Margaret de Cobham, daughter of the earl of Devonshire, wife of the lord of Cobham, builder of this place, obt. 1395. In like manner with the last, are the figures of two women, for dame Maud de Cobham, 13 the rest lost; south of the last a brass plate, with the figure of a man in armour, and arms of Cobham as above, and inscription round the verge of the stone, in French, for John de Cobham, ob. 1390; westward of this, on brass plates, are the figures of a man and woman, eight sons and ten daughters, and round the verge of the stone an inscription in brass, for Sir John Brooke, baron of Cobham, and Margaret his wife, daughter of Edward Nevile, lord of Burgavenny; he died in 1506, she died in 1500; arms, Cobham as above, impaling Nevile with quarterings; north of the former, brass and figure of a man in armour, and round the verge in brass, an inscription for Sir Nicholas Hawberk, husband of Joan lady Cobham, heir of John lord Cobham, founder of this college; he died at the castle of Cowling, in 1407; underneath the figure of a child, and inscription, for John their son; another, north of the last, and brass, with the figure of a woman, six sons, and four daughters, for Joan lady Cobham, wife of Sir Reginald Braybrooke, ob. 1433; arms, Cobham as above, with impalements and quarterings. Northward of the last, on brass, the figure of a man in armour, and round the verge and inscription in brass for Sir Reginald Braybrook, husband of Joan lady Cobham; he died at Middleburgh in Flanders, in 1405; on the same stone the figure of a child, and inscriptions for Reginald and Robert, their sons; northward of the former, the figures of a man in armour, his wife, five sons, and six daughters, and round the verge, in brass, an inscription for Sir Thomas Brooke, lord Cobham, and kinsman and heir of Sir Richard Beauchamp; he married first Dorothy, daughter of Sir Henry Haydon, by whom he had seven sons and six daughters; and secondly Dorothy Fowthewel, widow; and thirdly Elizabeth Hart; by neither of whom he had issue, ob. 1529, arms quarterly, 1st, on a chevron, a lion rampant, crowned; 2d, Cobham as above; 3d, seven mascles, three, three, and one; 4th, on a fess between three leopards heads an annulet. A brass plate for John Sproltle, master of this college, ob. 1498; on brass the figure of a man, and these arms, on a chevron three cross croslets bottone, in the dexter chief a star, for Ranf. de Cobham, esq. of Kent, who died in 1402; a brass plate and figure for William .......... master of this college, obt. 14. another like for Wm. Tanner, first master of it, ob. 1418. A stone and inscription for Tho. Webb, esq. secretary to James Stuart duke of Richmond, ob. 1649. In the nave a brass figure for master John Gladwyn, master of this college. In the north isle, a brass for John Gery, fellow of this college, obt. 1447; a brass, on a chevron between three trefoils as many annulets, and inscription for several of the Claverings; in the nave, now almost worn out, an inscripition for Alice, daughter of Nicholas Harpur, esq. first wife of William .......... and late to Edmond .......... There is a vault in this church, which belonged to the family of Hayes, of this parish, and being full, another was granted to them in the church yard, by the good will of the parishioners. Against the wall of the church on the outside, on the east side of the porch, is a small figure cut in stone, about two feet high, of a man to his waist, and under it an inscription, to the memory of one Robert Hoth, but the date is obliterated, and the whole of it in so perishing a condition, that a few years will entirely destroy it.
rear entrance- on left the raised covered road, the on right entry to the lower street! The old castle has a unique raised covered road, high enough for horsemen to ride through, that communicates between the new palace and the old fortifications
IMG_8936b350D24-105mm
Warszawa, 01 grudnia 2015 r.
Najlepszy prezent na święta to…wspomnienia!
Święta są bezapelacyjnie najpiękniejszym okresem w roku. Spotkania z bliskimi, pełne ciepłych emocji, śmiechu i relaksu – oto, do czego tęsknimy przez cały rok. By dopełnić tą wyjątkową atmosferę, warto przygotować dla najbl...
Opening scene
It is late in the 22nd Century. United Planet cruiser C57D a year out from Earth base on the way to Altair for a special mission. Commander J.J Adams (Leslie Neilsen) orders the crew to the deceleration booths as the ship drops from light speed to normal space.
Adams orders pilot Jerry Farman (Jack Kelly) to lay in a course for the fourth planet. The captain then briefs the crew that they are at their destination, and that they are to look for survivors from the Bellerophon expedition 20 years earlier.
As they orbit the planet looking for signs of life, the ship is scanned by a radar facility some 20 square miles in area. Morbius (Walter Pigeon) contacts the ship from the planet asking why the ship is here. Morbius goes on to explain he requires nothing, no rescue is required and he can't guarantee the safety of the ship or its crew.
Adams confirms that Morbius was a member of the original crew, but is puzzled at the cryptic warning Morbius realizes the ship is going to land regardless, and gives the pilot coordinates in a desert region of the planet. The ship lands and security details deploy. Within minutes a high speed dust cloud approaches the ship. Adams realizes it is a vehicle, and as it arrives the driver is discovered to be a robot (Robby). Robby welcomes the crew to Altair 4 and invites members of the crew to Morbious residence.
Adams, Farman and Doc Ostrow (Warren Stevens) arrive at the residence and are greeted by Morbius. They sit down to a meal prepared by Robbys food synthesizer and Morbius shows the visitors Robbys other abilities, including his unwavering obedience. Morbius then gives Robby a blaster with orders to shoot Adams. Robby refuses and goes into a mechanical mind lock, disabling him till the order is changed.
Morbius then shows the men the defense system of the house (A series of steel shutters). When questioned, Morbius admits that the Belleraphon crew is dead, Morbius and his wife being the only original survivors. Morbius's wife has also died, but months after the others and from natural causes. Morbius goes on to explain many of the crew were torn limb from limb by a strange creature or force living on the planet. The Belleraphon herself was destroyed when the final three surviving members tried to take off for Earth.
Adams wonders why this force has remained dormant all these years and never attacked Morbius. As discussions continue, a young woman Altaira (Anne Francis) introduces herself as Morbius daughter. Farman takes an immediate interest in Altaira, and begins to flirt with her . Altaira then shows the men her ability to control wild animals by petting a wild tiger. During this display the ship checks in on the safety of the away party. Adams explains he will need to check in with Earth for further orders and begins preparations for sending a signal. Because of the power needed the ship will be disabled for up to 10 days. Morbius is mortified by this extended period and offers Robby's services in building the communication facility
The next day Robby arrives at ship as the crew unloads the engine to power the transmitter. To lighten the tense moment the commander instructs the crane driver to pick up Cookie (Earl Holliman) and move him out of the way. Quinn interrupts the practical joke to report that the assembly is complete and they can transmit in the morning.
Meanwhile Cookie goes looking for Robby and organizes for the robot to synthesize some bourbon. Robby takes a sample and tells Cookie he can have 60 gallons ready the next morning for him.
Farman continues to court Altair by teaching her how to kiss, and the health benefits of kissing. Adams interrupts the exercise, and is clearly annoyed with a mix of jealous. He then explains to Altair that the clothes she wears are inappropriate around his crew. Altair tries to argue till Adams looses patience and order Altair to leave the area.
That night, Altair, still furious, explains to her father what occurred. Altair takes Adams advice to heart and orders Robby to run up a less revealing dress. Meanwhile back at the ship two security guards think they hear breathing in the darkness but see nothing.
Inside the ship, one of the crew half asleep sees the inner hatch opened and some material moved around. Next morning the Captain holds court on the events of the night before. Quinn advises the captain that most of the missing and damaged equipment can be replaced except for the Clystron monitor. Angry the Capt and Doc go back to Morbius to confront him about what has occurred.
Morbius is unavailable, so the two men settle in to wait. Outside Adams sees Altair swimming and goes to speak to her. Thinking she is naked, Adams becomes flustered and unsettled till he realizes she wants him to see her new dress. Altair asks why Adams wont kiss her like everyone else has. He gives in and plants one on her. Behind them a tiger emerges from the forest and attacks Altair, Adams reacts by shooting it. Altair is badly troubled by the incident, the tiger had been her friend, but she can't understand why acted as if she was an enemy.
Returning to the house, Doc and Adams accidently open Morbius office. They find a series of strange drawings but no sign of Morbius. He appears through a secret door and is outraged at the intrusion. Adams explains the damage done to the ship the previous night and his concern that Morbius was behind the attack.
Morbius admits it is time for explanations. He goes on to tell them about a race of creatures that lived on the planet called the Krell. In the past they had visited Earth, which explains why there are Earth animals on the planet. Morbius believes the Krell civilization collapsed in a single night, right on the verge of their greatest discovery. Today 2000 centuries later, nothing of their cities exists above ground.
Morbius then takes them on a tour of the Krell underground installation. Morbius first shows them a device for projecting their knowledge; he explains how he began to piece together information. Then an education device that projects images formed in the mind. Finally he explains what the Krell were expected to do, and how much lower human intelligence is in comparison.
Doc tries the intelligence tester but is confused when it does not register as high as Morbius. Morbius then explains it can also boost intelligence, and that the captain of the Belleraphon died using it. Morbius himself was badly injured but when he recovered his IQ had doubled.
Adams questions why all the equipment looks brand new. It is explained that all the machines left on the planet are self repairing and Morbius takes them on a tour of the rest of the installation. First they inspect a giant air vent that leads to the core of the planet. There are 400 other such shafts in the area and 9200 thermal reactors spread through the facilities 8000 cubic miles.
Later that night the crew has completed the security arrangements and tests the force field fence. Cookie asks permission to go outside the fence. He meets Robby who gives him the 60 gallons of bourbon. Outside, something hits the fence and shorts it out. The security team checks the breach but finds nothing. A series of foot like depressions begin forming leading to the ship. Something unseen enters the ship. A scream echos through the compound.
Back at the Morbius residence he argues that only he should be allowed to control the flow of Krell technology back to Earth. In the middle of the discussion, Adams is paged and told that the Chief Quinn has been murdered. Adams breaks of his discussions and heads back to the ship.
Later that night Doc finds the footprints and makes a cast. The foot makes no evolutionary sense. It seems to have elements of a four footed and biped creature; also it seems a predator and herbivore. Adams questions Cookie who was with the robot during the test and decides the robot was not responsible.
The next day at the funeral for Chief Morbius again warns him of impending doom facing the ship and crew. Adams considers this a challenge and spends the day fortifying the position around the ship. After testing the weapons and satisfied all that could be done has, the radar station suddenly reports movement in the distance moving slowly towards the ship.
No one sees anything despite the weapons being under radar fire control. The controller confirms a direct hit, but the object is still moving towards the ship. Suddenly something hits the force field fence, and a huge monster appears outlined in the energy flux. The crew open fire, but seem to do little good. A number of men move forward but a quickly killed.
Morbious wakes hearing the screams of Altair. Shes had a dream mimicking the attack that has just occurred. As Morbious is waking the creature in the force field disappears. Doc theories that the creature is made of some sort of energy, renewing itself second by second.
Adams takes Doc in the tractor to visit Morbius intending to evacuate him from the planet. He leaves orders for the ship to be readied for lift off. If he and Doc dont get back, the ship is to leave without them. They also want to try and break into Morbious office and take the brain booster test.
They are met at the door by Robby, who disarms them. Altair appears and countermands the orders given to Robby by her father. Seeing a chance Doc sneaks into the office. Altair argues with Adams about trying to make Morbius return home, she ultimately declares her love for him.
Robby appears carrying the injured Doc. Struggling to speak and heavy pain, Doc explains that the Krell succeeded in their great experiment. However they forgot about the sub conscious monsters they would release. Monsters from the id.
Morbius sees the dead body of Doc, and makes a series of ugly comments. His daughter reminds him that Doc is dead. Morbius lack of care convinces Altair she is better off going with Adams. Morbius tries to talk Adams out of taking Altair.
Adams demands an explanation of the id. Morbius realizes he is the source of the creature killing everyone. The machine the Krell built was able to release his inner beast, the sub conscious monster dwelling deep inside his ancestral mind.
Robby interrupts the debate to report something approaching the house. Morbius triggers the defensive shields of the house, which the creature begins to destroy. Morbius then orders Robby to destroy the creature, however Robby short circuits. Adams explained that it was useless; Robby knew it was Morbius self.
Adams, Altair and Morbius retreat to the Krell lab and sealed themselves in by sealing a special indestructible door. Adams convinces Morbius that he is really the monster, and that Morbius can not actually control his subconscious desires.
The group watch as the creature beings the slow process of burning through the door. Panicked Morbius implores Altair to say it is not so. Suddenly the full realization comes, and he understands that he could endanger or even kill Altair.
As the creature breaks through Morbius rushes forward and denies its existence. Suddenly the creature disappears but Morbius is mortally wounded. With his dying breath he instructs Adams to trigger a self destruct mechanism linked to the reactors of the great machine. The ship and crew have 24 hours to get as far away from the planet as possible
The next day we see the ship deep in space. Robby and Altair are onboard watching as the planet brightens and is destroyed. Adams assures Altair that her fathers memory will shine like a beacon.
Southeastern's class 375 dual voltage Electrostar electric multiple unit (EMU) number 375604 comprised of coaches 67804, 74253, 74254 and 67854 works 2K16 from London Victoria to Dover Priory on 10 December 2015. Owned by and leased from Eversholt Rail Group (formerly HSBC Rail) 375604 was built by Bombardier Transportation (previously ADtranz) assembled at Litchurch Lane Works, Derby between 1999 and 2001 the traction motors, train control and communications equipment having been manufactured at Vasteras, Sweden.
According to Realtime Trains the route and timings were;
London Victoria [VIC] 6.....1034.........................1042...........................8L
Voltaire Road Junction.....1038 1/2...................1046 1/4.....................7L
Brixton [BRX]........................1040 1/2..................1049...........................8L
Denmark Hill [DMK] 2........1043 1/2/1044 1/2..NoRep/1052.............7L
Crofton Road Junction......1045 1/2...................1053 1/4.....................7L
Peckham Rye [PMR] 4.......1046.........................1053 3/4....................7L
Nunhead [NHD] 2...............1047 1/2...................1055 1/4.....................7L
Bellingham [BGM]...............1052.........................1059 3/4....................7L
Shortlands Junction...........1054 1/2...................1101 3/4......................7L
Shortlands [SRT].................1055.........................1102 1/2......................7L
Bromley South [BMS] 4.....1057/1058...............1103 1/2/1104 1/2......6L
Bickley Junction[XLY].......1100 1/2...................1107............................6L
St Mary Cray Junction.......1101 1/2.....................1108 1/4.....................6L
Swanley [SAY] 4..................1107 1/2/1108 1/2....1115 3/4/1115 3/4.......7L
Fawkham Junction ............1116...........................1123.............................7L
Sole Street [SOR] 2............1124 1/2/1125..........1135/1136...................11L
Rochester Bridge Jn..........1135 1/2....................1143.............................7L
Rochester [RTR] 3..............1137 1/2/1138 1/2....1144 1/2/1146.............7L
Chatham [CTM] 2...............1140/1141..................1147 1/2/1148 1/4.......7L
Gillingham [GLM] 3.............1144 1/2/1145 1/2....1151 1/2/1152 3/4.......7L
Rainham [RAI] 2...................1149 1/2/1150..........1156 1/2/1157.............7L
Sittingbourne [SIT] 2..........1158/1159.................1203 1/2/1204 1/4...5L
Faversham [FAV] 3.............1206 1/2/1208........1215 1/4/1216 1/2......8L
Canterbury East [CBE] 2...1219/1220 1/2.........1227 3/4/1228 3/4..8L
Shepherds Well [SPH] 2...1229 1/2...................1237............................7L
Dover Priory [DVP] 3..........1237.........................1245 1/2....................8L
Sometimes you just have to go swimsuit shopping.
After leaving my one and only suit at a lake on Friday, the 4th of July, I was left high and dry for Saturday festivities at another lake.
Meet my new suit.
Mental/Digital Note: Having started the 365 days project, I find it interesting how truly UNinteresting my life seems.
Locals refer to this unique and wondrous site merely as 'The Train Wreck'.
The Train Wreck, seven box cars scattered over a One kilometres patch of forest, the debris from a high speed freight train crash in 1957 or 1958, South Of Function Junction near the Whistler Blackcomb resort in British Columbia, Canada. Too expensive to clear up, apart from the engine unit, the Whistler community decided to leave the wreck in situ and allow the birth of an amazing location, a bike trail and even an art gallery thanks to the incredibly vivid and stylish graffiti that covers each and every box car.
The train wreck is sort of a local secret, and I only found out about it's existence from one of the young hotel receptionists at the Crystal Lodge Hotel in Whistler village, who told me that it was great for photography and hiking. So for this series of photographs, let's wander along the forest pathway, passing waterfalls and crossing the train tracks, into the wilderness to discover those not so secret carriages from the train wreck.
The walk begins at Olives Community Market at 1200 Alpha Lake Road, Whistler, BC V0N 1B1, close to Function Junction in Whistler BC. Behind Olives there is an unmarked pathway into the dense and beautiful forest, though you only find this out upon asking in Olives community market where the ladies serving fantastic gluten free and fresh foods were incredibly friendly and helpful in handing me a printed piece of paper with directions to the train wreck itself. Here, walking at a fairly leisurely pace, almost one hour into the forest trail, the railway track takes a devious left turn and inwards to the forest are the striken box cars, like fallen warriors on the battlefield.
On the point of giving up, an hour into the trail and old legs and dogs paws screaming 'Enough already', we came back out onto the railway track from the forest. Up ahead I walked around a bend and saw in the distance a very sharp left handed bend. Could this be the point of derailment I thought? Walking closer, my eyes looked left once more into the forest and there I could just see the faintest of glimpses, a rusting, shattered box car.... we had found them at last.
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Photograph taken at 11:19am an altitude of Five hundred and eighty six metres on Monday 15th September 2014 of the Cheakamus Falls (unnoficial name), off the Sea to sky highway 99 out of Whistler, South of Function Junction and into the forest on the banks of the Cheakamus River in British Columbia, Canada.
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Nikon D800 24mm 1/13s f/2.8 iso100 RAW (14 bit) Hand held. Manual focus. Manual exposure. Matrix metering. Auto white balance.
Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon GP-1 GPS unit.
LATITUDE: N 50d 4m 50.90s
LONGITUDE: W 123d 3m 21.32s
ALTITUDE: 586.0m
RAW (TIFF) FILE SIZE: 103.00MB
PROCESSED (JPeg) SIZE: 25.32MB
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Processing power:
HP Pavillion Desktop with AMD A10-5700 APU processor. HD graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.10.0 64bit. Adobe photoshop Elements 8 Version 8.0 64bit
It opened to the public on April 12, 1929, which makes it the first open-air museum in Roumanie. However, the park is closed to the public from the beginning of November to the end of April.
The most ancient objects here exhibited date from 1678. The park's main collection is composed of:
13 traditional farms with some 90 buildings collected from several transylvanian ethnographical regions: Ţara Moţilor, Ţara Năsăudului, Bistriţa, Câmpia Transilvaniei, Maramureş, Székely Land, Ţara Zarandului, Podgoria Albă, Oaş Country, Gurghiu, Ţara Călatei, Bran
34 rural technical installations (mills...)
5 workshops
3 wooden churches
a wooden carved cemetery gate.
source - en.wikipedia.org/wiki/Ethnographic_Museum_of_Transylvania...
Parcul Etnografic Romulus Vuia
BISERICĂ – CIZER, JUD. SĂLAJ, 1773
We had to rotate the head and run the ram all the way back, to make a more compact, easier to handle package.
The 2x6's below are to give the machine a larger foot print for the rollers, which are 1 1/2" pipe.
Once the machine is on rollers it is moved with my collection of pry bars, which range from a 6 foot machine bar down to little 12" hand bars.
The back of the trailer is held up by house bottle jacks on the ground so the trailer doesn't squat as we load the machine.
Later the machine is pulled onto a flat bed trailer with come-alongs, and finally held in place by putting nails through the 2x6's into the floor of the trailer. Nails are not driven all the way down so they are easily pulled later.
The machine is also lashed off in all four directions with ratchet straps.
On a 1 day notice, we had 2 days to get it out.
1st day we put the mill on the 2x6's and moved it to the garage door: 6 hrs. The 2nd day loaded the machine onto trailer, 4 hrs. , We then moved it about 50 miles, 2 hrs. Unloaded I machine, about 2 hrs.
The machine weighed 2,100 LBS.