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#2060 - 2013 Day 233: Photography allows us to see designs within designs. I believe architects have the same awareness and are able to combine big-picture thinking with small visualisations. Not to big up this picture too much; it is just a perception ...
Class 66 No.66734 works towards the setting sun with the 6V87 Middlesbrough Dawson Gbrf to Trostre Works (Gbrf) at Water Orton. 05-03-24.
For alternative railway photography, follow the link:
www.phoenix-rpc.co.uk to the Phoenix Railway Photographic Circle.
A line of crystal chandeliers under graceful arches at the south riwaq of the main prayer hall of the Sultan Qaboos Grand Mosque in Muscat, Oman.
Les "Figaro Bénéteau 2" des concurrents de la GENERALI SOLO 2015 bien alignés le long du quai Ribotty dans le port Lympia à Nice à l'issue de la première étape Sète - Nice en passant par le phare de la Giraglia en Corse.
Ils forment un site d'alignements mégalithiques exceptionnel situé sur les communes de Carnac et de La Trinité-sur-Mer et réunissant la plus forte concentration de mégalithes du monde. Constitués de menhirs, de dolmens et d'allées couvertes répartis sur plus de quatre kilomètres, ces alignements érigés vers 4 500 ans avant notre ère, sont les ensembles mégalithiques les plus célèbres et les plus impressionnants de cette période avec près de 4 000 pierres levées.
Les principaux alignements de menhirs de Carnac sont (d'Ouest en Est) : Le Ménec, Kermario, Kerlescan et Le Petit Ménec. L'ensemble a une direction générale sud-ouest nord-est, selon l'orientation du lever du soleil du solstice d'été. Dans chaque alignement, les menhirs sont placés par ordre croissant en direction de l'Ouest. Un cromlech précède l'alignement du Ménec (le plus imposant avec 1099 m de long par 100 m de large, 1200 pierres sur 11 lignes avec 2 cromlec'h en demi-cercle aux extrémités "enceinte") distant de 240 mètres de l'alignement de Kermario (1250 de long par 100 m de large, 1029 pierres en 10 lignes), précédé lui d'un dolmen. Les menhirs vieux de 6000 ans sont exclusivement formés de granite local.
Five pictures of courting Gannets taken at Bempton Cliffs on the 13th of August 2024. In the first picture possibly, the male Gannet has flowers in its beak as a gift for its partner at the start of the courtship. The Gannets heads weaved around each other for around 30 seconds culminating in the last shot where they aligned their beaks before flying away.
Here's a closer look at my shark pillows.
The most challenging part of this project was to get the colors and patterns to align and complement each other, without being completely matchy.
The embroidery is based on some sharks I got from online coloring pages.
American Bobby Reynolds in his first round match against compatriot Jesse Witten.
Witten won this match and went on to qualify by beating Greg Jones and Go Soeda.
Alignement de BN LRV type "6100"
7411, 7414, 7422, 7425 et 7443
Photo réalisée à l'occasion de l'excursion "En Van Hool A120/31 pour changer - Charleroi" de l'ASBL Wallobus.
Dépôt TEC d'Anderlues.
HDR and stitched in Photoshop. I used the "manual" tonemapping method described here - It is quickly becoming my favorite method of creating HDR images. I first created all four HDR panels in Photoshop, then manually aligned them. All the work was done non-destructively with Smart Object layers. The origial file is 666.5 Mb (for the non-geeks out there, it's about the size of a CD ROM).
Exploring the abandoned foundry factory of COMETNA, in Odivelas, Portugal.
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If you liked my work, take a look at my Instagram gallery, where I share some of the things I've been doing (travels, music, lifestyle) and where I post other pictures that are not yet on Flickr as well as some edits:
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In case you want to use any of my pictures just send me a message so we can talk about it.
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Any favourite, like or share is appreciated and would greatly help me in my photographic journey. Thanks a lot for your support.
Voss Graham, CEO and Senior Business Advisor of InnerActive Consulting Group spoke to a Society of Entrepreneurs Roundtable discussion about how and why to align your sales and marketing efforts to generate success for your business.
The Brihadeshwara Temple at Thanjavur in the Indian state of Tamil Nadu, is a Hindu temple dedicated to Shiva. It is an important example of Tamil architecture achieved during the Chola dynasty. The temple is part of the UNESCO World Heritage Site known as the "Great Living Chola Temples".
This is one of the largest temples in India and one of India's most prized architectural sites. Built by emperor Raja Raja Chola I and completed in 1010 AD, Peruvudaiyaar Temple, also popularly known as the 'Big Temple', turned 1000 years old in 2010.
Thanjavur Periya Kovil stands amidst fortified walls that were probably added in the 16th century. The vimanam (or temple tower) is 66 m) high and is among the tallest of its kind in the world. The Kumbam (Kalasha or Chikharam, the apex or the bulbous structure on the top) of the temple is carved out of a single rock and it weighs around 80 tons. There is a big statue of Nandi (sacred bull), carved out of a single rock, at the entrance measuring about 16 feet long and 13 feet high. The entire temple structure is made out of granite, the nearest sources of which are close to Tiruchirappalli, about 60 km to the west of Thanjavur.
HISTORY
The temple had its foundations laid out by the Tamil emperor Arulmozhivarman, popularly called Rajaraja Chola I, in 1002 CE, as the first of the great Tamil Chola building projects.
The Brihadeshwarar Temple was built to grace the throne of the Chola empire in compliance to a command given to him in his dream. The scale and grandeur is in the Chola tradition. An axial and symmetrical geometry rules the temple layout. Temples from this period and the following two centuries are an expression of the Tamils (Chola) wealth, power and artistic expertise. The emergence of such features as the multifaceted columns with projecting square capitals signal the arrival of the new Chola style.
The Brihadeshwarar Temple was built to be the royal temple to display the emperor's vision of his power and his relationship to the universal order. The temple was the site of the major royal ceremonies such as anointing the emperor and linking him with its deity, Shiva, and the daily rituals of the deities were mirrored by those of the king. It is an architectural example showcasing the pure form of the Dravida type of temple architecture and representative of the Chola Empire ideology and the Tamil civilisation in Southern India. The temple "testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting."
CONSTRUCTION
The wish to build a mammoth temple like this is said to have occurred to Raja Raja while he stayed at Sri Lanka as an emperor.
The esteemed architect and engineer of the temple was Kunjara Mallan Raja Raja Perunthachan as stated in inscriptions found at the temple. The temple was built per ancient texts called Vaastu Shastras and Agamas. He is the ancient ancestor of the doyan of Vaastu Vedic architecture, the late Dr. V. Ganapti Sthapati of Chennai and Mahabalipurim (architect of the 133' granite Thiruvalluvar statue at the tip of south India). Members of his family still live and practice the ancient art and science. The American University of Mayonic Science and Technology was initiated by Dr. V. Ganapati Sthapati to perpetuate the same form of architectural principles used by Kunjara Mallan Raja Raja Perunthachan to build the Brihadeeswarar temple. The temple was built using a measure of 1 3/8-inch called an angula (24 units equalling 33 inches called a hasta, muzam, or kishku). This is the same measure found in ancient Lothal and other sites in the Indus Valley dating back 4000 - 6000 years. This same measure is used to build structures compliant with the Vaastu Shastras and Agamas today. While some builders use a different measure this is considered a standard due to its antiquity.
This temple is the first building fully built by granite and finished within 5yrs [1004AD – 1009AD]. The solid base of the temple raises about 5 metres, above which stone deities and representatives of Shiva dance. The huge kalasam or Vimanam (top portion of the shrine) is believed to weigh 81.28 tonnes of single stone block and was raised to its present height by dragging on an inclined plane of 6.44 km. The big Nandi (bull), weighing about 20 tonnes is made of a single stone and is about 2 m in height, 6 m in length and 2.5 m in width. The presiding deity of lingam is 3.7m tall. The prakaram (outer precincts of the temple) measures 240m by 125m. The outer wall of the upper storey is carved with 81 dance karanas – postures of Bharathanatyam, the classical dance of Tamil Nadu. The shrine of Goddess was added by Pandyas during the 13th century, Subramanya Shrine by Vijayanagara rulers and the Vinayaka shrine was renovated by Maratha rulers.
TEMPLE COMPLEX
The temple complex sits on the banks of a river that was channelled to make a moat around the complex's outer walls, the walls being built like a fortress. The complex is made up of many structures that are aligned axially. The complex can be entered either on one axis through a five-story gopuram or with a second access directly to the huge main quadrangle through a smaller free-standing gopuram. The massive size of the main Vimanam (Shikhara) is ca. 60 meters high, with 16 elaborately articulated stories, and dominates the main quadrangle. Pilaster, piers, and attached columns are placed rhythmically covering every surface of the Vimanam.
The gopuram of the main entrance is 30 m high, smaller than the vimana. It is unusual in the dravidian architecture where the gopurams are generally the main towers and taller than the vimanam.
MAIN TEMPLE
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasising the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for foetus. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.
The circumambulation winds around the massive lingam in the garbhagriha and is repeated in an upper story, presenting the idea that Chola Empire freely offered access to the gods.
The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shiva's sacred bull mount.
TEMPLE DEITIES
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for "Ashta-dikpaalakas" (Guardians of the directions) – Indra, Agni, Yama, Nirṛti, Varuṇa, Vāyu, Kubera, Īśāna – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varuṇa, Vāyu and Īśāna are preserved in situ.)
ADJOINING STRUCTURES
Surrounding the main temple are two walled enclosures. The outer wall is high, defining the temple complex area. Here is the massive gopuram or gateway mentioned above. Within this a portico, a barrel vaulted gorpuram with over 400 pillars, is enclosed by a high wall interspersed with huge gopurams axially lined up to the main temple.
FEATURES
Another widely held belief is that the shadow of the gopuram (pyramidal tower usually over the gateway of a temple) never falls on the ground. . The temple is said to be made up of about 60,000 tons of sandstone and granite. The Kumbam itself, a 60 ton granite stone carved in one piece, on top of the main gopuram is believed to have been taken to the top by creating an inclined slope to the height of 66m to the top of the gopuram. The prevailing belief is that a mud-slope, which starts at about three miles from the temple site, from Thirukoilore (birthplace of Raja raja's mother) near Sri Virateshvara swamy temple portrays the figure of the Thanjavur Temple. Elephants might have been used to drag the stone up the slope. This was claimed to be the only part of the gopuram, which does not cast a shadow that fall on the ground, at least not within the temple premises which is an architectural amazement in the world of architecture.
MURALS
The temple has Chola frescoes on the walls around the sanctum sanctorum potryaing Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. These frescoes were discovered in the 1940s and portray the mythological episodes of the journey of Saint Sundarar and the Chera King to heaven, the battle scene of Tripurantaka (Lord Siva) with Asuras (demons). The Chola artists have proved their mettle by portraying even the Asura women with a sense of beauty. Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged because of the soot that had deposited on them. Owing to the continuous exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum over a period of centuries certain parts of the Chola paintings on the circumambulatory passage walls had been badly damaged. The Tanjore Nayak kings replaced them with a few paintings of their own, about 400 years ago. The Archaeological Survey of India, for the first time in the world, used its unique de-stucco process to restore 16 Nayak paintings, which were superimposed on 1000-year-old Chola frescoes. These 400-year-old paintings have been mounted on fibre glass boards, displayed at a separate pavilion.
TEMPLE PERSONNEL
The temple was consecrated in 1010 CE by Raja Raja Chola I & in 2010 a celebration commemorated the temple's thousandth anniversary. The temple maintained a staff of 1000 people in various capacities with 400 being temple dancers Besides the Brahmin priests, these included record-keepers, musicians, scholars, and craftsman of every type as well as housekeeping staff. In those days the temple was a hub of business activities for the flower, milk, oil, and ghee merchants, all of whom made a regular supply of their respective goods for the temple for its poojas and during festival seasons. Moreover as evidenced by the inscriptions that found in the compound wall of this temple, the temple had always been serving as a platform for the dancers who excelled in the traditional dance form of Bharatnatyam. vallamuthu minnadi generation worshipped this temple.
WIKIPEDIA
You’ve always wanted your teeth straightened but think your too old or you can’t bear the thought of metal wires. Think again! Ensmile aligners in Lahore has been providing clear braces since 2016 which makes us one of its earliest accredited practitioners Pakistan.
Smart Thinking Effects - MindSways - January 2013
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Tapping Into Popularity
Tricks, Effects and Pieces
The Workshop
Psychological Artistry
You Can't Believe What You See
What Others Say
Hi,
We now have the dates for the Sleight of Mind Set workshops in 2013. The Sleight of Mind Set Workshops are one day workshops all about learning and applying Psychological Artistry and Mind Magic (Mentalism) ideas and techniques to what you do. See www.mindsways.com/SMS for more information.
We can learn valuable lessons from mind magic about how we think, act and behave. We can also use mind magic to illustrate human nature and our psychology. Adding psychological artistry to your delivery adds both the spice of excitement and taps into the enduring popularity of magic and psychology.
Tapping Into Popularity & The Personal Touch
If you look at the most popular "tags" in Amazon, you will see standing out the terms "magic", "mystery" and "paranormal". See www.mindsways.com/SMS for the image. In today's environment, we have to be able to be heard above the noise and stand out if we are attract people. By tapping into psychological artistry and mind magic, you are mining a rich resource that has popular appeal.
Over the past 18 months I have also noticed a trend, as the power of technology expands and we are surrounded by screens of all sorts, we value face to face interactions and the personal touch much more. What we focus on in the workshops, is combining using your head (smart thinking) and the personal touch. It is all about contributing to your reputation and adding value to what you do.
When you engage using mind magic and psychological artistry, you are tapping into;
People's passion, fascination and curiosity
Mystery and true difference
What makes novelty and newness appealing
Their crystallised knowledge and enhancing fluid knowledge
Cognitive fitness ideas by creating a workout for their brain
Tricks, Effects and Pieces
On the Sleight of Mind Set Workshop, we talk about the difference between tricks, effects and pieces. Briefly; a trick is a clever puzzle, it becomes an effect when it is presented and surrounded by story, meaning and/or emotion. It becomes a piece when the effect is woven into the very fabric of your personal brand and delivery. It then has the power to command attention, illustrates and communicates what you are about, allowing you to stand out.
The Sleight of Mind Set Workshop aims to give you a sound knowledge of the ideas, tools and techniques that form psychological artistry, but also quality material that you can add to your delivery (you get the SNT kit and the SMS package, see www.mindsways.com/SMS for more info). The day builds your own critical thinking skills, and provides new perspectives that allow you to step away from your own bias.
Innovation and creativity lies at the heart of Psychological Artistry and Mind Magic, so whether you are already actively engaged in using your creative skills or just looking to stimulate and nurture your creativity, you will find practical tools for releasing the spirit of innovation and creativity on the Sleight of Mind Set workshop.
What Is The Sleight of Mind Set Workshop?
The Sleight of Mind Set Workshops are one day workshops all about learning and applying Psychological Artistry and Mind Magic (Mentalism) ideas and techniques to what you do. They start at 10:00 a.m. and finish at 4:30 p.m. These are being held around the country, in:
London | 20th February 2013
Glasgow | 5th March 2013
Birmingham | 12th March 2013
Bath | 20th March 2013
Nr. Scunthorpe | 29th March 2013
The style of the day reflects the term edutrainment with it being a blend of entertainment, education and training. The aim of the day is to
Inform
Stimulate thought
Stimulate reflection
Create actions
Get you to think anew and build anew
What Do You Get On The Workshops?
On the day, you will get the SNT kit, the Sleight of Mind Set kit, which give you the 20 plus physical gimmicks and illusions we explore on the day. You will also get written notes, copies of the presentation we use and access to the online training material for the SNT kit, all included in the fee for the workshop. All of these items are entertaining, informative, engaging and practical for you to apply to your delivery.
Using the materials from the SNT and SMS, you will discover a wealth of practical, real world techniques that can be applied to coaching, training, consultancy, presenting or therapy.
Psychological Artistry
A couple of interesting examples of how all is not as it appears are the McGurk effect and Prof Richard Wiseman's "The Incredible Colour Changing Card Effect". Please take a look here or visit mindsways.com/SMS. I would love to know what you think. These illustrate both the power and the approach of psychological artistry.
You Can't Believe What You See, But You See What You Believe
It's easy to imagine that these illusions happen only on pieces of paper, on computer screens or during magic tricks. Easy, but wrong. They happen to you every day, in almost every activity you can think of. They're significant in all areas of our lives, affecting;
Our Identity (How you see yourself)
Our Aspirations (What you want to do in life)
Our Drives (Why you get out of bed in the morning)
Our Ambitions (Where you want to go)
Our Personality (Who you are)
And our very essence. Illusion will play a critical role in your life and in everyone else's. They determine how you act, behave and think. To learn more about illusions and how they are linked in your life, please go to mindsways.com/SMS/
To get your own SNT kit, please look here.
What Others Say
Following on from our recent series of Sleight of Mind Set Workshops, we are pleased with the feedback comments we have had, such as:
"A truly inspiring experience is how I'd best describe the Sleight of Mind Set workshop."
"I came away with lots of ideas to create drama and interest in my training delivery."
"The whole group laughed many times and were absolutely fascinated by each technique."
"Nothing but praise. It was a light-hearted and informative day and I was able to go home and immediately try things. The following day I made use of my new information in a therapy session - to great effect."
"You obviously have something very special happening here"
To see more of what people say about us, click here.
To Book Your Place
The Sleight of Mind Set Workshop is intended for people who are curious, want to improve how they connect, express and communicate with others. Overall, it is about adding new skills to you and being able to apply the techniques and ideas from Psychological Artistry and Mind Magic to maximise what you do.
To see more information and to book your place on the Sleight of Mind Set Workshop, please click here to go to mindsways.com/SMS
Thanks,
P.S. If you have any questions, please get in touch with me or look at mindsways.com/SMS#FAQ for the Frequently Asked Questions
P.P.S. The Show, Not Tell (SNT) kit is available separately. For more information, please go to mindsways.com/SNT/
Copyright © 2013 MindSways. All Rights Reserved.www.mindsways.com | twitter.com/mindsways | sms@mindsways.orgIf you no longer wish to recieve these updates, please click here to unsubscribe.
In an effort to align with the USAID Digital Strategy and recognize USAID Missions, Bureaus and partners that are empowering countries in a digital age, USAID launched the 2022 Digital Development Awards (the Digis), the fourth round of these awards. The Digis recognize and celebrate USAID-funded projects and activities that use digital technology to sustain open, secure, and inclusive digital ecosystems in order to improve measurable development and humanitarian-assistance outcomes. After receiving nearly 200 applications from USAID Missions around the world, five winners were selected for the 2022 Digital Development Awards, including the U.S. President’s Malaria Initiative (PMI) VectorLink, funded by USAID/Zambia and implemented by Abt Associates.
Certain malaria control interventions are proven to reduce transmission, particularly the distribution of insecticide treated bed nets (ITN) and indoor residual spraying (IRS), where insecticide that is safe for humans is sprayed on the walls and ceilings of homes to kill malaria-carrying mosquitoes. Successful planning of these interventions is tied closely to accurately estimating the population and number of homes in a particular area, which preferably are then used to create a map that helps inform resource allocation and monitor the intervention’s coverage post-intervention.
The U.S. President’s Malaria Initiative (PMI) VectorLink Project supports national governments in 25 countries to plan and implement proven, life-saving vector control programs with the overall goal of reducing malaria burden. In 2021-2022, PMI VectorLink Zambia worked with subcontractor Akros and the Georeferenced Infrastructure and Demographic Data for Development (GRID3) project to first update maps used by local government officials and then plan IRS and ITN campaigns to the most granular level yet: the health facility catchment level.
To start, the team engaged health facility staff across all 116 districts in Zambia to verify the boundaries of the area they serve. Satellite images of each health facility catchment area (HFCA) were then used to estimate the population. Akros provided both digital and printed maps, and an IRS planning template, to each district and then trained the district teams on how to use them.
Jerry Maambo, a Malaria Elimination Officer, has helped spearhead the Indoor Residual Campaign being enforced by PMI VectorLink Zambia in the Katete District. Using the digitized, detailed maps from Akros, Jerry and his team are better able to plot Malaria outbreaks and plan protective efforts for sprayers to disinfect houses in the district.
Additionally, the sprayers are key partners in responding to community questions and concerns about the spraying campaigns. Jerry shares that, “We engage the local traditional leadership and have community dialogue meetings, and eventually the community was willing to have their houses sprayed.”
The maps updated by VectorLink, coupled with support during the planning processes, strengthened the National Malaria Elimination Program’s (NMEP) capacity to use the latest data to operationalize their strategy and ultimate goal of covering 100 percent of the population with at least one malaria prevention program. The result has led to increased coverage of malaria control campaigns in hard-to-reach areas across Zambia. With the new microplanning maps, the Zambia NMEP now has a deeper level of insight into the geographic distribution of remote communities and better population estimates down to the village level.
Photo Credit: Chipema Chinyama for USAID