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Chthonic here applied to a more open definition of godliness than either dark and underground, or even cavern dwelling spirits. When in the dark be happy with those surround you and be well advised by those that bring you back to the light. We such strange animals enjoying dark fiction to unwind and revelling in shadow worlds that are revealed around us. The darkness and I are good companions together and I am very happy to return from restful night and close dark focus to the opening brightness of the day and greater activity all around all of us.

 

From underground concentrated release I return to confined structured day to day activity. A moment to meditate in stillness can be the way to much action. Just a short time away from the usual can gives us insight into a better way. Sometimes Spiralling into Moon Magic is the only way to appreciate Subterranean Style intensely deep Chthonic encounters As You Like It because the world need not always be turned upside down, just viewed from below the ground up.

 

Crichton Mains, or Crichton Souterrain is an underground earth house in Midlothian in Scotland. Souterrains include some similar patterned construction and lots of subterranean places as Souterrain from the French for underground is a great catch all term. This underground earth house seems to be constructed without mortar an includes several worked stones that Roman masonry in origin. The most famous part of this structure is the carving of a Pegasus, or winged horse which is the emblem of the Legio II Augusta, Second Legion Augustus, also an ‘august legion’. The standard badges of the Second legion Augusta include the Capricornus fish goat, the Pegasus winged horse and Mars the war god. In the late third century depictions only the Capricornus is found as their legionary emblem. In 208 when Septimius came to Britain to conquer Scotland Legio II Augusta moved north to Carpow on the river Tay where it shared a large fortress with Legio VI Victrix. During or the reign of Severus Alexander the conquest of Scotland was given up and the Second Legion returned to Caerleon, or Carlisle and the legion was still there in 255. The next mention finds the Legio II Augusta at Richborough in the fourth century as a part of the coastal defence of Kent. Stone depictions of Capricornus and Pegasus survive from Chesters Roman Fort Northumberland, Hadrian’s Wall and Duntocher in West Dunbartonshire Scotland. In 139 Legio II Augusta were working in Scotland building the Antonine Wall. In 142 this work on the wall between what is now Edinburgh and Glasgow was finished. The Antonine Wall is said not to have been in service for very long with the Romans falling back South and constructing Hadrian's wall between what is now Newcastle and Carlisle. The Pegasus at Crichton Mains maybe a design created as Legio II Augusta marched North and South fighting on the edge of the Roman Empire

  

© PHH Sykes 2022

phhsykes@gmail.com

applied urban acid effect :) from atncenter.com

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

 

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applied some new actions and loving the colors!

A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.

 

Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.

 

HISTORY

Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).

 

During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.

 

In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.

 

Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.

 

TECHNIQUE

In the history of mural several methods have been used:

 

A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.

 

Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.

 

Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.

 

MATERIAL

In Greco-Roman times, mostly encaustic colors applied in a cold state were used.

 

Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.

 

In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.

 

A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.

 

Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.

 

As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.

 

The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.

 

Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.

 

SIGNIFICANCE OF MURALS

Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.

 

Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.

 

Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.

 

Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.

 

The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.

 

Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.

 

WIKIPEDIA

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

 

ID:338d8a144e3b0323ce33ca3408879cfd

 

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www.flickr.com/photos/jwrscott/4

Secretary of State Antony J. Blinken visits Applied Materials Maydan Technology Center in Sunnyvale, California, on October 17, 2022. [State Department photo by Ron Przysucha/ Public Domain]

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

 

ID:338d8a144e3b0323ce33ca3408879cfd

 

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The College of Fine Arts (originally the School of Applied Design) was designed by Henry Hornbostel and opened in 1912.

A little demonstration of a 3-stitch applied I-cord. The three right-most stitches are the I-cord and are in a slightly darker color. The other stitches to the left are the picked up selvage stitches from the edge of the throw.

I have applied the carcinogen to the two seedlings at the back of the pot - see the orange blobs sticking to the cotyledonous leaves. This is an attempt to induce polyploidy. (It may look like 'Agent Orange' but is less toxic)

 

Here is an article which suggests a very similar approach. I developed the same strategy years ago (2004) unaware of this publication. My "glue" uses a mixture of arrowroot starch and glycerine as well as the oryzalin in the appropriate quantity. (I am more into cooking than chemistry though it is the same thing really)

 

technique in detail:

www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&amp...

Fountains Abbey is one of the largest and best preserved ruined Cistercian monasteries in England. It is located approximately 3 miles (5 kilometres) south-west of Ripon in North Yorkshire, near to the village of Aldfield. Founded in 1132, the abbey operated for 407 years becoming one of the wealthiest monasteries in England until its dissolution in 1539 under the order of Henry VIII.

 

The abbey is a Grade I listed building owned by the National Trust and part of the designated Studley Royal Park including the Ruins of Fountains Abbey UNESCO World Heritage Site.

 

Foundation

 

After a dispute and riot in 1132 at the Benedictine house of St Mary's Abbey, in York, 13 monks were expelled (among them Saint Robert of Newminster) and, after unsuccessful attempts to form a new monastery were taken under the protection of Thurstan, Archbishop of York. He provided them with land in the valley of the River Skell, a tributary of the Ure. The enclosed valley had all the natural features needed for the creation of a monastery, providing shelter from the weather, stone and timber for building, and a supply of running water. After enduring a harsh winter in 1133, the monks applied to join the Cistercian order which since the end of the previous century was a fast-growing reform movement that by the beginning of the 13th century was to have over 500 houses. So it was that in 1135, Fountains became the second Cistercian house in northern England, after Rievaulx. The Fountains monks became subject to Clairvaux Abbey, in Burgundy which was under the rule of St Bernard. Under the guidance of Geoffrey of Ainai, a monk sent from Clairvaux, the group learned how to celebrate the seven Canonical Hours according to Cistercian usage and were shown how to construct wooden buildings in accordance with Cistercian practice.

 

Consolidation

 

After Henry Murdac was elected abbot in 1143, the small stone church and timber claustral buildings were replaced. Within three years, an aisled nave had been added to the stone church, and the first permanent claustral buildings built in stone and roofed in tile had been completed.

In 1146 an angry mob, annoyed at Murdac for his role in opposing the election of William FitzHerbert as archbishop of York, attacked the abbey and burnt down all but the church and some surrounding buildings.The community recovered swiftly from the attack and founded four daughter houses. Henry Murdac resigned as abbot in 1147 upon becoming the Archbishop of York and was replaced first by Maurice, Abbot of Rievaulx then, on the resignation of Maurice, by Thorald. Thorald was forced by Henry Murdac to resign after two years in office. The next abbot, Richard, held the post until his death in 1170 and restored the abbey's stability and prosperity. In 20 years as abbot, he supervised a huge building programme which involved completing repairs to the damaged church and building more accommodation for the increasing number of recruits. Only the chapter house was completed before he died and the work was ably continued by his successor, Robert of Pipewell, under whose rule the abbey gained a reputation for caring for the needy.

 

The next abbot was William, who presided over the abbey from 1180 to 1190 and he was succeeded by Ralph Haget, who had entered Fountains at the age of 30 as a novice, after pursuing a military career. During the European famine of 1194 Haget ordered the construction of shelters in the vicinity of the abbey and provided daily food rations to the poor enhancing the abbey's reputation for caring for the poor and attracting more grants from wealthy benefactors.

In the first half of the 13th century Fountains increased in reputation and prosperity under the next three abbots, John of York (1203–1211), John of Hessle (1211–1220) and John of Kent (1220–1247). They were burdened with an inordinate amount of administrative duties and increasing demands for money in taxation and levies but managed to complete another massive expansion of the abbey's buildings. This included enlarging the church and building an infirmary.

 

Difficulties

 

In the second half of the 13th century the abbey was in more straitened circumstances. It was presided over by eleven abbots, and became financially unstable largely due to forward selling its wool crop, and the abbey was criticised for its dire material and physical state when it was visited by Archbishop John le Romeyn in 1294. The run of disasters that befell the community continued into the early 14th century when northern England was invaded by the Scots and there were further demands for taxes. The culmination of these misfortunes was the Black Death of 1348–1349. The loss of manpower and income due to the ravages of the plague was almost ruinous.

A further complication arose as a result of the Papal Schism of 1378–1409. Fountains Abbey along with other English Cistercian houses was told to break off any contact with the mother house of Citeaux, which supported a rival pope. This resulted in the abbots forming their own chapter to rule the order in England and consequently they became increasingly involved in internecine politics. In 1410, following the death of Abbot Burley of Fountains, the community was riven by several years of turmoil over the election of his successor. Contending candidates John Ripon, Abbot of Meaux, and Roger Frank, a monk of Fountains were locked in conflict until 1415 when Ripon was finally appointed, ruling until his death in 1434. Under abbots John Greenwell (1442–1471), Thomas Swinton (1471–8), John Darnton (1478–95), who undertook some much needed restoration of the fabric of the abbey, including notable work on the church, and Marmaduke Huby (1495–1526) Fountains regained stability and prosperity.

At Abbot Huby's death he was succeeded by William Thirsk who was accused by the royal commissioners of immorality and inadequacy and was dismissed as abbot. He was replaced by Marmaduke Bradley, a monk of the abbey who had reported Thirsk's supposed offences, testified against him and offered the authorities six hundred marks for the post of abbot. In 1539 it was Bradley who surrendered the abbey when its seizure was ordered under Henry VIII at the Dissolution of the Monasteries.

 

The abbey precinct covered 70 acres (28 ha) surrounded by an 11-foot (3.4 m) wall built in the 13th century, some parts of which are visible to the south and west of the abbey. The area consists of three concentric zones cut by the River Skell flowing from west to east across the site. The church and claustral buildings stand at the centre of the precinct north of the Skell, the inner court containing the domestic buildings stretches down to the river and the outer court housing the industrial and agricultural buildings lies on the river's south bank. The early abbey buildings were added to and altered over time, causing deviations from the strict Cistercian type. Outside the walls were the abbey's granges.[citation needed]

The original abbey church was built of wood and "was probably" two stories high; it was, however, quickly replaced in stone. The church was damaged in the attack on the abbey in 1146 and was rebuilt, in a larger scale, on the same site. Building work was completed c.1170.[11] This structure, completed around 1170, was 300 ft (91 m) long and had 11 bays in the side aisles. A lantern tower was added at the crossing of the church in the late 12th century. The presbytery at the eastern end of the church was much altered in the 13th century. The church's greatly lengthened choir, commenced by Abbot John of York, 1203–11, and carried on by his successor terminates, like that of Durham Cathedral, in an eastern transept, the work of Abbot John of Kent, 1220–47. The 160-foot-tall (49 m) tower, which was added not long before the dissolution, by Abbot Huby, 1494–1526, is in an unusual position at the northern end of the north transept and bears Huby's motto 'Soli Deo Honor et Gloria'. The sacristry adjoined the south transept.

The cloister, which had arcading of black marble from Nidderdale and white sandstone, is in the centre of the precinct and to the south of the church. The three-aisled chapter-house and parlour open from the eastern walk of the cloister and the refectory, with the kitchen and buttery attached, are at right angles to its southern walk. Parallel with the western walk is an immense vaulted substructure serving as cellars and store-rooms, which supported the dormitory of the conversi (lay brothers) above. This building extended across the river and at its south-west corner were the latrines, built above the swiftly flowing stream. The monks' dormitory was in its usual position above the chapter-house, to the south of the transept. Peculiarities of this arrangement include the position of the kitchen, between the refectory and calefactory, and of the infirmary above the river to the west, adjoining the guest-houses.

 

The abbot's house, one of the largest in all of England,is located to the east of the latrine block, where portions of it are suspended on arches over the River Skell.It was built in the mid-twelfth century as a modest single-storey structure, then, from the fourteenth century, underwent extensive expansion and remodelling to end up in the 16th century as a grand dwelling with fine bay windows and grand fireplaces. The great hall was an expansive room 52 by 21 metres (171 by 69 ft).

Among other apartments, for the designation of which see the ground-plan, was a domestic oratory or chapel,

 

1⁄2-by-23-foot (14 by 7 m), and a kitchen, 50-by-38-foot (15 by 12 m)

 

Medieval monasteries were sustained by landed estates that were given to them as endowments and from which they derived an income from rents. They were the gifts of the founder and subsequent patrons, but some were purchased from cash revenues. At the outset, the Cistercian order rejected gifts of mills and rents, churches with tithes and feudal manors as they did not accord with their belief in monastic purity, because they involved contact with laymen. When Archbishop Thurstan founded the abbey he gave the community 260 acres (110 ha) of land at Sutton north of the abbey and 200 acres (81 ha) at Herleshowe to provide support while the abbey became established. In the early years the abbey struggled to maintain itself because further gifts were not forthcoming and Thurstan could not help further because the lands he administered were not his own, but part of the diocesan estate. After a few years of impoverished struggle to establish the abbey, the monks were joined by Hugh, a former dean of York Minster, a rich man who brought a considerable fortune as well as furniture and books to start the library.

By 1135 the monks had acquired only another 260 acres (110 ha) at Cayton, given by Eustace fitzJohn of Knaresborough "for the building of the abbey". Shortly after the fire of 1146, the monks had established granges at Sutton, Cayton, Cowton Moor, Warsill, Dacre and Aldburgh all within 6 mi (10 km) of Fountains. In the 1140s the water mill was built on the abbey site making it possible for the grain from the granges to be brought to the abbey for milling.Tannery waste from this time has been excavated on the site.

Further estates were assembled in two phases, between 1140 and 1160 then 1174 and 1175, from piecemeal acquisitions of land. Some of the lands were grants from benefactors but others were purchased from gifts of money to the abbey. Roger de Mowbray granted vast areas of Nidderdale and William de Percy and his tenants granted substantial estates in Craven which included Malham Moor and the fishery in Malham Tarn. After 1203 the abbots consolidated the abbey's lands by renting out more distant areas that the monks could not easily farm themselves, and exchanging and purchasing lands that complemented their existing estates. Fountains' holdings both in Yorkshire and beyond had reached their maximum extent by 1265, when they were an efficient and very profitable estate. Their estates were linked in a network of individual granges which provided staging posts to the most distant ones. They had urban properties in York, Yarm, Grimsby, Scarborough and Boston from which to conduct export and market trading and their other commercial interests included mining, quarrying, iron-smelting, fishing and milling.

The Battle of Bannockburn in 1314 was a factor that led to a downturn in the prosperity of the abbey in the early fourteenth century. Areas of the north of England as far south as York were looted by the Scots. Then the number of lay-brothers being recruited to the order reduced considerably. The abbey chose to take advantage of the relaxation of the edict on leasing property that had been enacted by the General Chapter of the order in 1208 and leased some of their properties. Others were staffed by hired labour and remained in hand under the supervision of bailiffs. In 1535 Fountains had an interest in 138 vills and the total taxable income of the Fountains estate was £1,115, making it the richest Cistercian monastery in England.

After the Dissolution

 

The Gresham family crest

The Abbey buildings and over 500 acres (200 ha) of land were sold by the Crown, on 1 October 1540, to Sir Richard Gresham, at the time a Member of Parliament and former Lord Mayor of London, the father of Sir Thomas Gresham. It was Richard Gresham who had supplied Cardinal Wolsey with the tapestries for his new house of Hampton Court and who paid for the Cardinal's funeral.

Gresham sold some of the fabric of the site, stone, timber, lead, as building materials to help to defray the cost of purchase. The site was acquired in 1597 by Sir Stephen Proctor, who used stone from the monastic complex to build Fountains Hall. Between 1627 and 1767 the estate was owned by the Messenger family who sold it to William Aislaby who was responsible for combining it with the Studley Royal Estate.

 

Burials

 

Roger de Mowbray, 1st Baron Mowbray

John de Mowbray, 2nd Baron Mowbray

Abbot Marmaduke Huby (d. 1526)

Rose (daughter of Richard de Clare, 6th Earl of Gloucester), wife of Roger de Mowbray, 1st Baron Mowbray

Henry de Percy, 1st Baron Percy

William II de Percy, 3rd feudal baron of Topcliffe

Becoming a World Heritage Site

The archaeological excavation of the site was begun under the supervision of John Richard Walbran, a Ripon antiquary who, in 1846, had published a paper On the Necessity of clearing out the Conventual Church of Fountains.In 1966 the Abbey was placed in the guardianship of the Department of the Environment and the estate was purchased by the West Riding County Council who transferred ownership to the North Yorkshire County Council in 1974. The National Trust bought the 674-acre (273 ha) Fountains Abbey and Studley Royal estate from North Yorkshire County Council in 1983. In 1986 the parkland in which the abbey is situated and the abbey was designated a World Heritage Site by UNESCO. It was recognised for fulfilling the criteria of being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history. Fountains Abbey is owned by the National Trust and maintained by English Heritage. The trust owns Studley Royal Park, Fountains Hall, to which there is partial public access, and St Mary's Church, designed by William Burges and built around 1873, all of which are significant features of the World Heritage Site.

The Porter's Lodge, which was once the gatehouse to the abbey, houses a modern exhibition area with displays about the history of Fountains Abbey and how the monks lived.

In January 2010, Fountains Abbey and Studley Royal became two of the first National Trust properties to be included in Google Street View, using the Google Trike.

 

Film location

 

Fountains Abbey was used as a film location by Orchestral Manoeuvres in the Dark for their single "Maid of Orleans (The Waltz Joan of Arc)" during the cold winter of December 1981. In 1980, Hollywood also came to the site to film the final scenes to the film Omen III: The Final Conflict.Other productions filmed on location at the abbey are the films Life at the Top, The Secret Garden, The History Boys, TV series Flambards, A History of Britain, Terry Jones' Medieval Lives, Cathedral, Antiques Roadshow and the game show Treasure Hunt. The BBC Television series 'Gunpowder' (2017) used Fountains Abbey as a location.

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

 

ID:338d8a144e3b0323ce33ca3408879cfd

 

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Dr. Melinda McFarland (left) and Dr. Christine Hebling evaluate tandem mass spectrometry data for microcystin toxins on an Orbitrap mass spectrometer. Hundreds of FDA scientists are working to develop the tools needed to keep bacterial and chemical contaminants out of the food supply, and to rapidly identify the disease-causing bacteria that do infiltrate foods and cause outbreaks of foodborne illnesses. Among them are the researchers at FDA's Center for Food Safety and Applied Nutrition(CFSAN), in College Park, Md.

 

This photo is free of all copyright restrictions and available for use and redistribution without permission. Credit to the U.S. Food and Drug Administration is appreciated but not required.

 

Privacy and use information: www.flickr.com/people/fdaphotos/

 

FDA photo by Michael J. Ermarth

Both professional massages and those done by your partner are special. Letting go of your tension can improve your physical and emotional health. Keep reading to find out more on massages and how they are beneficial.

 

Make sure to drink a lot of water following a massage. Stimulated tissues release toxins. Drinking water will help to flush them out and minimized any adverse side impacts. During the first hour after your massage you should drink at least two glasses of water, and another eight before 24 hours ends.

 

Offering a terrific massage is all about feeling out your partner. The best massage therapists will tell you that you need to let your hands read the body. Follow the bodies curves and lighten pressure as you go over bony areas. Modify the shape of your hand to fit in the curves of the body.

 

Avoid holding your breath while your massage therapist is working. You could have knots that are extremely painful, yet the therapist can not massage them out successfully if you hold your breath. Try to breathe through the muscle pain, and make use of a combination of deep breathing and visualization. In your mind, image the area and imagine the knot is a lump of butter, melting in the warm sunshine.

 

The Japanese love to take part in a kind of massage called shiatsu. This makes use of the pressure from the masseuse's fingers pressed in a rhythm on your acupuncture meridians. The pressure is applied for a few to lots of seconds, boosting energy flow and returning the body to balance. It doesn't leave you sore, either!

 

Use candles to set the mood. Candles supply subtle lighting, while simultaneously developing an enjoyable atmosphere. Fragrant candles are also a terrific idea. Position them equally throughout the room, at varying elevations. It is also important to be safe when making use of candles. Keep them away from hanging fabric such as curtains.

 

Do not think twice to talk to your doctor about massages. If you deal with back pains or muscle pains on a regular basis, ask your doctor if massages would be an excellent solution. Your doctor should be able to advise an excellent massage clinic in your area and even write you a prescription.

 

Be proactive about how you are feeling when you get a message. Make sure you tell your therapist about any areas of focus. You are not going to feel better if you don't say anything when she is not getting intense adequate to get rid of those knots.

 

Prior to getting a massage, inform your massage therapist of all the trouble areas you have. If you don't you could end up losing half of your massage time on areas that need a lot less work to feel excellent! This communication will offer your therapist a plan of action for the limited time there is readily available.

 

Increase the benefits of your exercise routine by massaging your body before and after exercising. Massages before exercising can boost blood flow to muscles. Use your fists to make mauling motions on your arms and legs. Doing massages after exercising can help speed up muscle recovery and better waste removal. You can do these by rubbing along your muscles using your palms or fists moving in the direction of your heart.

 

To perform a pregnancy massage, have the expectant mommy lie on her side and gently rub her back making use of a circular motion. A pregnancy massage is specifically beneficial during the third trimester when the weight of the child develops pressure points in the expectant mommy's lower back and buttock areas.

 

Be on time, or a little early. Besides being excellent etiquette, being punctual can in fact help your massage be reliable. When you are running late, you are usually in a frenzied state, increasing anxiety levels and putting your body on edge. In a massage, this means it will take you longer to loosen up and you could not get all of the benefits of an enjoyable rub down.

 

Massaging your own shoulders can be enjoyable if you do it right. Beginning at the top of your spine, making use of one hand or two, use your hand to stroke from skull to shoulders. Then work your means across the shoulder outwards. Go back in the direction of the neck and repeat the process.

 

When booking a massage treatment, pick a time which is easy for you to attend. You need to get there early, and you shouldn't be in a rush to leave. Talk to them about their policy on cancellations to ensure you don't get even more burnt out if you have to reschedule.

 

Talk honestly to your massage therapist. Tell them about any injuries or trouble areas prior to your massage. Do not hesitate to say something if you feel discomfort. After all, you are supposed to relax from this.

 

Where you get a massage needs to be relaxing. The massage is about tension release and relaxation. Noisy environments just stress people out. Make it so the person can fall asleep if they want to. Play some soft music, dim the lights and you'll develop a nice calm atmosphere.

 

You should put in the time to get more information about the human body, specifically its muscles and nerves. You will be able to offer better massages as soon as you know where sensitive nerve endings are located and have a better idea of where muscles are. You will also understand the pains you experience a lot better once you know more about your body.

 

Put on loose fitting clothing to your massage. Your masseuse will ask you to disrobe down to the level of your comfort, and so the last thing you really want to do is struggle with numerous layers or tight clothing as you get all set for your massage! Many individuals put on workout clothing when they get a massage.

 

You should now have adequate details to make an informed decision about whether a massage is ideal for you. Not everyone wishes to have a massage. Use these strategies or go see a therapist. You will feel a lot more relaxed and not have to fret about chronic pains anymore.

  

Prior to getting a massage, inform your massage therapist of all the trouble areas you have. In a massage, this means it will take you longer to loosen up and you could not get all of the benefits of an enjoyable rub down.

 

Where you get a massage needs to be relaxing. Your masseuse will ask you to disrobe down to the level of your comfort, and so the last thing you really want to do is struggle with numerous layers or tight clothing as you get all set for your massage! Lots of people put on workout clothing when they get a massage. www.profesyonelmasajsalonu.com

Director Theophilus Raynsford Mann

 

~ a Taiwanese social reformer, philosopher, photographer, and film director

 

“Do Everything for My People”

  

馬天亮導演

 

~ 臺灣的社會改革者,哲學家,攝影師,和電影導演

 

《造福人民》

  

SUMMARY

 

Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.

  

Early Life and Record of Genealogy

 

Theophilus Raynsford Mann possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Mann about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Mann takes great pride in his roots, which go back 150 years (since 1864); Mann’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.

  

Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa

 

In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.

 

In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Mann’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.

 

Backing to Mann’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.

  

Early Career

 

In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.

  

Study Abroad and Immigration into the United Kingdom

 

In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013 www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Mann immigrated into the United Kingdom in the early year of 2004.

  

PHILOSOPHICAL VIEWS

 

Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.

 

Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.

 

During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?

  

FAIRNESS and JUSTICE

 

As Theophilus Raynsford Mann’s saying are:

 

“Touching Fairness and Justice”

 

Feel good about themselves, but do not know the sufferings of the people...

Who can get easy life like them?

What is profile of modern society?

What type and style is truly solemn for this society identify?

Where “the characterization” is? Who can see? Did you see it?

 

《感動的公平與正義》

 

自我感覺良好, 不知民間疾苦...

誰能得到安逸的生活如同他們一樣?

這是個什麼樣子的社會?

這個社會認定什麼樣的類型和風格是真正莊重的?

「特徵」在那裡?誰可以看到?你看到了嗎?

  

Jurisprudence and Political Philosophy and Perspectives

 

Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.

 

According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.

 

The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.

 

Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.

 

Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.

 

In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.

 

In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.

 

No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.

 

The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.

 

Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.

 

Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.

 

The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.

  

Developed a Technique for Abstract Photography and Abstractionist

 

In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.

  

Photographic Exhibitions

 

Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.

一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展

 

Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.

馬天亮『光影』攝影特展(個人展32場)1983〜1985年.

 

Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.

  

Modernization in the Modern Abstract Arts of Taiwan

 

Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.

 

In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.

  

Became an Author and a Scholar

 

In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.

  

Authorship

 

Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.

  

Became an Academic and Film Director

 

Today, Mann is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.

  

Director Works:

FILMS:

Experimental Film “New Image for the Spring” © 1982

Documentary Film “Rayonnisme” © 2011

“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)

 

FASHION SHOWS:

New Image for the Spring of Shapely Models International © 1982

High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982

 

ART EXHIBITIONS:

The Cadillac Club International Fine Arts Exhibition © 1981

The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981

  

Musician Work:

MUSIC COMPOSITION:

Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.

  

PHOTOGRAPHIC ALBUMS:

Portrait and Landscape in France © 2000

Portrait and Landscape in Scotland © 2001

Portrait and Landscape in England © 2009

Portrait at Queen Mary, University of London © 2010

Rayonism of London © 2011

Portrait at The University of Nottingham, United Kingdom © 2011

Snowy London © 2012

Portrait at King's College London © 2013

  

BOOKS:

Scenario Original 「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.

“Album of the Cadillac Club International Fine Arts Exhibition” © 1981

“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981

“Album of New Image for the Spring of Shapely Models International” © 1982

“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982

“Romantic Carol” © 1982

Album of Academic Work for News Publication: “Theophilus Raynsford Mann Photographic Exhibitions of Rayonnisme” © May 1985

New version of scenario original “The Soul's Sentimentalizing” (to be published)

「曾經輝煌到頂天立地」(individual biography, to be published)

“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)

「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)

  

Research Interests:

 

University of Oxford

Research Studies in Archaeology:

Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.

 

National Taiwan University

Graduate Certificate,

Graduate Institute of Electrical Engineering:

Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.

 

University of Glamorgan

M.Sc. Course,

Master of Science in Real Estate Appraisal:

Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.

 

National Sun Yat-Sen University

Postgraduate Certificate,

Postgraduate Studies in Computing:

Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.

  

Associations:

 

Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.

 

Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.

 

Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)

 

Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.

 

Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.

 

On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.

near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...

 

Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.

  

Honours:

 

Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.

中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.

 

On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.

  

Careers:

 

Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:

Academia,

Teaching and Research:

business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and filmmaking.

www.facebook.com/stlra/info

教學與研究:

企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ,視覺藝術和製作影片。

 

Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:

consultants of immigration, translations, and legal services.

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永生移民顧問翻譯服務社的移民諮詢顧問和翻譯:

移民事務,翻譯和法律服務。

 

Computer Hardware & Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:

Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.

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計算機工程和網絡服務。維修主機板,顯示器,電源供應器,光碟機/光盘驱动器,不斷電系統,硬碟/硬盘,硬盤數據恢復,基本輸入輸出系統編程,以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。

 

Film Director and Photographer at Shapely Studio of Creative and Cultural Industries, 2 April 2007 to present in London, United Kingdom:

1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.

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Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:

Social Reform in Taiwan

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《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.

Website

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Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.

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LINKS:

 

University of California, Berkeley

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University of Michigan

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WorldCat® Identities

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National Yang Ming University 國立陽明大學

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National Taiwan University of Science and Technology 國立臺灣科技大學

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Wikimedia Commons 維基共享資源

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國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引

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聲音藝術的審美角度, 大學雜誌, 天然

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為文化中心把脈, 幼獅文藝

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科學家與守財奴, 中國地方自治

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画像検索

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Japan Photos and Pictures

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far-east-movement - Blogcu (Turkey)

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A Story of Professor Theophilus Raynsford Mann

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Sports Wallpapers

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University of California, Berkeley period

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University of Michigan period

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University of Oxford period

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University of Huddersfield period, UK. Huddersfield period

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art galleries uk

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Mitrasites system

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articles.whmsoft

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German

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Painting and markings:

Well, this one is simple and tricky at the same time. An all-green aircraft sounds primitive, but it can easily look very boring and unnatural. And there’s another twist: it is actually VERY difficult to find a good tone that represents the "SM/67" dark green that was used on Danish aircraft.

 

FS 34079 is frequently recommended, but IMHO it is "too green", and too light as a basic tone. The real stuff has a (relative) olive drab touch, a bit more yellow-, even brown-ish, it reminds a bit of RAL 6014.

The paint’s quick deterioration, esp. of the early matt finishes, makes it hard to define, too. But there are some museum aircraft pictures which yield a good impression of the tone when you compare pictures from different angles and in different light conditions. In the end, it’s still a guesstimate.

 

I accidently found a great option for “SM/67” among the new RLM enamels from Humbrol: 253, RLM 83! It fits right between FS 34079 and RAL 6014, and it is also dark enough. The overall impression is very good.

In order to add some visual excitement I weathered the aircraft – not as dramatic as many F-100s look like, but it should become a typical matt green RDAF aircraft, with all of the effects on the exterior. The later, glossy paint finish kept an almost immaculate look, and appeared in a much more olive-drab-like tone, even though it is still SM/67 dark green.

 

Painting was done with brushes, and I faced some trouble with the new RLM enamel: pigments appear to be pretty large, and they would not mix well with the thinner. As a result, the paint would not dry up as an opaque coat, requiring at least two, better three layers of paint. Not optimal – I more or less solved this challenge through a thin basic layer which worked like a primer, onto which a truly covering, thicker layer was applied. But it just took more paint than necessary to get the Kfir green, I hope the other RLM tones do not suffer from the same flaw…

 

Weathering was done just with slightly lightened/toned Humbrol 253, applied with a brush. I used mixes of 253 and 116 (with varying shares of the lighter 116, depending on the area of the model and also to avoid a uniform look) as well as 253 and 155. A black ink wash darkened the whole thing considerably, esp. the basic 253 coat which turned out to be very matt, with a coarse and open surface that would almost soak up the black ink pigments.

Some soot stains were added with grinded graphite, which yields a metallic shine and a very smooth, fading of the stains around the guns, nozzle and various air outlets. Some bare aluminum was also applied at leading edges and panel joints.

 

The landing gear was painted all-white, with gray wheel disks and bright red brake covers. The whole landing gear was heavily washed with black ink, too.

The cockpit was held in medium gray, and the added pilot received a low-viz outfit without bright colors or a “bone dome”.

 

The RDAF markings come from an Xtradecal F-100 sheet, the warning stencils were taken from the original, vast Kfir decal sheet, plus some more from the scrap box, like the Kfir badges on the fin or the formation stripes. With all the red stencils the aircraft lost much of its green dullness!

 

The ordnance was painted in light grey, and the sensor pods became white and medium gray, just to add some variety and have a contrast to the all-green rest of the aircraft.

 

Finally, everything was sealed under a matt acrylic varnish.

 

Fish, any of approximately 34,000 species of vertebrate animals (phylum Chordata) found in the fresh and salt waters of the world. Living species range from the primitive jawless lampreys and hagfishes through the cartilaginous sharks, skates, and rays to the abundant and diverse bony fishes. Most fish species are cold-blooded; however, one species, the opah (Lampris guttatus), is warm-blooded.

 

The term fish is applied to a variety of vertebrates of several evolutionary lines. It describes a life-form rather than a taxonomic group. As members of the phylum Chordata, fish share certain features with other vertebrates. These features are gill slits at some point in the life cycle, a notochord, or skeletal supporting rod, a dorsal hollow nerve cord, and a tail. Living fishes represent some five classes, which are as distinct from one another as are the four classes of familiar air-breathing animals—amphibians, reptiles, birds, and mammals. For example, the jawless fishes (Agnatha) have gills in pouches and lack limb girdles. Extant agnathans are the lampreys and the hagfishes. As the name implies, the skeletons of fishes of the class Chondrichthyes (from chondr, “cartilage,” and ichthyes, “fish”) are made entirely of cartilage. Modern fish of this class lack a swim bladder, and their scales and teeth are made up of the same placoid material. Sharks, skates, and rays are examples of cartilaginous fishes. The bony fishes are by far the largest class. Examples range from the tiny seahorse to the 450-kg (1,000-pound) blue marlin, from the flattened soles and flounders to the boxy puffers and ocean sunfishes. Unlike the scales of the cartilaginous fishes, those of bony fishes, when present, grow throughout life and are made up of thin overlapping plates of bone. Bony fishes also have an operculum that covers the gill slits.

 

The study of fishes, the science of ichthyology, is of broad importance. Fishes are of interest to humans for many reasons, the most important being their relationship with and dependence on the environment. A more obvious reason for interest in fishes is their role as a moderate but important part of the world’s food supply. This resource, once thought unlimited, is now realized to be finite and in delicate balance with the biological, chemical, and physical factors of the aquatic environment. Overfishing, pollution, and alteration of the environment are the chief enemies of proper fisheries management, both in fresh waters and in the ocean. (For a detailed discussion of the technology and economics of fisheries, see commercial fishing.) Another practical reason for studying fishes is their use in disease control. As predators on mosquito larvae, they help curb malaria and other mosquito-borne diseases.

 

Fishes are valuable laboratory animals in many aspects of medical and biological research. For example, the readiness of many fishes to acclimate to captivity has allowed biologists to study behaviour, physiology, and even ecology under relatively natural conditions. Fishes have been especially important in the study of animal behaviour, where research on fishes has provided a broad base for the understanding of the more flexible behaviour of the higher vertebrates. The zebra fish is used as a model in studies of gene expression.

 

There are aesthetic and recreational reasons for an interest in fishes. Millions of people keep live fishes in home aquariums for the simple pleasure of observing the beauty and behaviour of animals otherwise unfamiliar to them. Aquarium fishes provide a personal challenge to many aquarists, allowing them to test their ability to keep a small section of the natural environment in their homes. Sportfishing is another way of enjoying the natural environment, also indulged in by millions of people every year. Interest in aquarium fishes and sportfishing supports multimillion-dollar industries throughout the world.

 

Fishes have been in existence for more than 450 million years, during which time they have evolved repeatedly to fit into almost every conceivable type of aquatic habitat. In a sense, land vertebrates are simply highly modified fishes: when fishes colonized the land habitat, they became tetrapod (four-legged) land vertebrates. The popular conception of a fish as a slippery, streamlined aquatic animal that possesses fins and breathes by gills applies to many fishes, but far more fishes deviate from that conception than conform to it. For example, the body is elongate in many forms and greatly shortened in others; the body is flattened in some (principally in bottom-dwelling fishes) and laterally compressed in many others; the fins may be elaborately extended, forming intricate shapes, or they may be reduced or even lost; and the positions of the mouth, eyes, nostrils, and gill openings vary widely. Air breathers have appeared in several evolutionary lines.

 

Many fishes are cryptically coloured and shaped, closely matching their respective environments; others are among the most brilliantly coloured of all organisms, with a wide range of hues, often of striking intensity, on a single individual. The brilliance of pigments may be enhanced by the surface structure of the fish, so that it almost seems to glow. A number of unrelated fishes have actual light-producing organs. Many fishes are able to alter their coloration—some for the purpose of camouflage, others for the enhancement of behavioral signals.

 

Fishes range in adult length from less than 10 mm (0.4 inch) to more than 20 metres (60 feet) and in weight from about 1.5 grams (less than 0.06 ounce) to many thousands of kilograms. Some live in shallow thermal springs at temperatures slightly above 42 °C (100 °F), others in cold Arctic seas a few degrees below 0 °C (32 °F) or in cold deep waters more than 4,000 metres (13,100 feet) beneath the ocean surface. The structural and, especially, the physiological adaptations for life at such extremes are relatively poorly known and provide the scientifically curious with great incentive for study.

 

Almost all natural bodies of water bear fish life, the exceptions being very hot thermal ponds and extremely salt-alkaline lakes, such as the Dead Sea in Asia and the Great Salt Lake in North America. The present distribution of fishes is a result of the geological history and development of Earth as well as the ability of fishes to undergo evolutionary change and to adapt to the available habitats. Fishes may be seen to be distributed according to habitat and according to geographical area. Major habitat differences are marine and freshwater. For the most part, the fishes in a marine habitat differ from those in a freshwater habitat, even in adjacent areas, but some, such as the salmon, migrate from one to the other. The freshwater habitats may be seen to be of many kinds. Fishes found in mountain torrents, Arctic lakes, tropical lakes, temperate streams, and tropical rivers will all differ from each other, both in obvious gross structure and in physiological attributes. Even in closely adjacent habitats where, for example, a tropical mountain torrent enters a lowland stream, the fish fauna will differ. The marine habitats can be divided into deep ocean floors (benthic), mid-water oceanic (bathypelagic), surface oceanic (pelagic), rocky coast, sandy coast, muddy shores, bays, estuaries, and others. Also, for example, rocky coastal shores in tropical and temperate regions will have different fish faunas, even when such habitats occur along the same coastline.

 

Although much is known about the present geographical distribution of fishes, far less is known about how that distribution came about. Many parts of the fish fauna of the fresh waters of North America and Eurasia are related and undoubtedly have a common origin. The faunas of Africa and South America are related, extremely old, and probably an expression of the drifting apart of the two continents. The fauna of southern Asia is related to that of Central Asia, and some of it appears to have entered Africa. The extremely large shore-fish faunas of the Indian and tropical Pacific oceans comprise a related complex, but the tropical shore fauna of the Atlantic, although containing Indo-Pacific components, is relatively limited and probably younger. The Arctic and Antarctic marine faunas are quite different from each other. The shore fauna of the North Pacific is quite distinct, and that of the North Atlantic more limited and probably younger. Pelagic oceanic fishes, especially those in deep waters, are similar the world over, showing little geographical isolation in terms of family groups. The deep oceanic habitat is very much the same throughout the world, but species differences do exist, showing geographical areas determined by oceanic currents and water masses.

 

All aspects of the life of a fish are closely correlated with adaptation to the total environment, physical, chemical, and biological. In studies, all the interdependent aspects of fish, such as behaviour, locomotion, reproduction, and physical and physiological characteristics, must be taken into account.

 

Correlated with their adaptation to an extremely wide variety of habitats is the extremely wide variety of life cycles that fishes display. The great majority hatch from relatively small eggs a few days to several weeks or more after the eggs are scattered in the water. Newly hatched young are still partially undeveloped and are called larvae until body structures such as fins, skeleton, and some organs are fully formed. Larval life is often very short, usually less than a few weeks, but it can be very long, some lampreys continuing as larvae for at least five years. Young and larval fishes, before reaching sexual maturity, must grow considerably, and their small size and other factors often dictate that they live in a habitat different than that of the adults. For example, most tropical marine shore fishes have pelagic larvae. Larval food also is different, and larval fishes often live in shallow waters, where they may be less exposed to predators.

 

After a fish reaches adult size, the length of its life is subject to many factors, such as innate rates of aging, predation pressure, and the nature of the local climate. The longevity of a species in the protected environment of an aquarium may have nothing to do with how long members of that species live in the wild. Many small fishes live only one to three years at the most. In some species, however, individuals may live as long as 10 or 20 or even 100 years.

 

Fish behaviour is a complicated and varied subject. As in almost all animals with a central nervous system, the nature of a response of an individual fish to stimuli from its environment depends upon the inherited characteristics of its nervous system, on what it has learned from past experience, and on the nature of the stimuli. Compared with the variety of human responses, however, that of a fish is stereotyped, not subject to much modification by “thought” or learning, and investigators must guard against anthropomorphic interpretations of fish behaviour.

 

Fishes perceive the world around them by the usual senses of sight, smell, hearing, touch, and taste and by special lateral line water-current detectors. In the few fishes that generate electric fields, a process that might best be called electrolocation aids in perception. One or another of these senses often is emphasized at the expense of others, depending upon the fish’s other adaptations. In fishes with large eyes, the sense of smell may be reduced; others, with small eyes, hunt and feed primarily by smell (such as some eels).

 

Specialized behaviour is primarily concerned with the three most important activities in the fish’s life: feeding, reproduction, and escape from enemies. Schooling behaviour of sardines on the high seas, for instance, is largely a protective device to avoid enemies, but it is also associated with and modified by their breeding and feeding requirements. Predatory fishes are often solitary, lying in wait to dart suddenly after their prey, a kind of locomotion impossible for beaked parrot fishes, which feed on coral, swimming in small groups from one coral head to the next. In addition, some predatory fishes that inhabit pelagic environments, such as tunas, often school.

 

Sleep in fishes, all of which lack true eyelids, consists of a seemingly listless state in which the fish maintains its balance but moves slowly. If attacked or disturbed, most can dart away. A few kinds of fishes lie on the bottom to sleep. Most catfishes, some loaches, and some eels and electric fishes are strictly nocturnal, being active and hunting for food during the night and retiring during the day to holes, thick vegetation, or other protective parts of the environment.

 

Communication between members of a species or between members of two or more species often is extremely important, especially in breeding behaviour (see below Reproduction). The mode of communication may be visual, as between the small so-called cleaner fish and a large fish of a very different species. The larger fish often allows the cleaner to enter its mouth to remove gill parasites. The cleaner is recognized by its distinctive colour and actions and therefore is not eaten, even if the larger fish is normally a predator. Communication is often chemical, signals being sent by specific chemicals called pheromones.

 

Many fishes have a streamlined body and swim freely in open water. Fish locomotion is closely correlated with habitat and ecological niche (the general position of the animal to its environment).

 

Many fishes in both marine and fresh waters swim at the surface and have mouths adapted to feed best (and sometimes only) at the surface. Often such fishes are long and slender, able to dart at surface insects or at other surface fishes and in turn to dart away from predators; needlefishes, halfbeaks, and topminnows (such as killifish and mosquito fish) are good examples. Oceanic flying fishes escape their predators by gathering speed above the water surface, with the lower lobe of the tail providing thrust in the water. They then glide hundreds of yards on enlarged, winglike pectoral and pelvic fins. South American freshwater flying fishes escape their enemies by jumping and propelling their strongly keeled bodies out of the water.

 

So-called mid-water swimmers, the most common type of fish, are of many kinds and live in many habitats. The powerful fusiform tunas and the trouts, for example, are adapted for strong, fast swimming, the tunas to capture prey speedily in the open ocean and the trouts to cope with the swift currents of streams and rivers. The trout body form is well adapted to many habitats. Fishes that live in relatively quiet waters such as bays or lake shores or slow rivers usually are not strong, fast swimmers but are capable of short, quick bursts of speed to escape a predator. Many of these fishes have their sides flattened, examples being the sunfish and the freshwater angelfish of aquarists. Fish associated with the bottom or substrate usually are slow swimmers. Open-water plankton-feeding fishes almost always remain fusiform and are capable of rapid, strong movement (for example, sardines and herrings of the open ocean and also many small minnows of streams and lakes).

 

Bottom-living fishes are of many kinds and have undergone many types of modification of their body shape and swimming habits. Rays, which evolved from strong-swimming mid-water sharks, usually stay close to the bottom and move by undulating their large pectoral fins. Flounders live in a similar habitat and move over the bottom by undulating the entire body. Many bottom fishes dart from place to place, resting on the bottom between movements, a motion common in gobies. One goby relative, the mudskipper, has taken to living at the edge of pools along the shore of muddy mangrove swamps. It escapes its enemies by flipping rapidly over the mud, out of the water. Some catfishes, synbranchid eels, the so-called climbing perch, and a few other fishes venture out over damp ground to find more promising waters than those that they left. They move by wriggling their bodies, sometimes using strong pectoral fins; most have accessory air-breathing organs. Many bottom-dwelling fishes live in mud holes or rocky crevices. Marine eels and gobies commonly are found in such habitats and for the most part venture far beyond their cavelike homes. Some bottom dwellers, such as the clingfishes (Gobiesocidae), have developed powerful adhesive disks that enable them to remain in place on the substrate in areas such as rocky coasts, where the action of the waves is great.

 

The methods of reproduction in fishes are varied, but most fishes lay a large number of small eggs, fertilized and scattered outside of the body. The eggs of pelagic fishes usually remain suspended in the open water. Many shore and freshwater fishes lay eggs on the bottom or among plants. Some have adhesive eggs. The mortality of the young and especially of the eggs is very high, and often only a few individuals grow to maturity out of hundreds, thousands, and in some cases millions of eggs laid.

 

Males produce sperm, usually as a milky white substance called milt, in two (sometimes one) testes within the body cavity. In bony fishes a sperm duct leads from each testis to a urogenital opening behind the vent or anus. In sharks and rays and in cyclostomes the duct leads to a cloaca. Sometimes the pelvic fins are modified to help transmit the milt to the eggs at the female’s vent or on the substrate where the female has placed them. Sometimes accessory organs are used to fertilize females internally—for example, the claspers of many sharks and rays.

 

In the females the eggs are formed in two ovaries (sometimes only one) and pass through the ovaries to the urogenital opening and to the outside. In some fishes the eggs are fertilized internally but are shed before development takes place. Members of about a dozen families each of bony fishes (teleosts) and sharks bear live young. Many skates and rays also bear live young. In some bony fishes the eggs simply develop within the female, the young emerging when the eggs hatch (ovoviviparous). Others develop within the ovary and are nourished by ovarian tissues after hatching (viviparous). There are also other methods utilized by fishes to nourish young within the female. In all live-bearers the young are born at a relatively large size and are few in number. In one family of primarily marine fishes, the surfperches from the Pacific coast of North America, Japan, and Korea, the males of at least one species are born sexually mature, although they are not fully grown.

 

Some fishes are hermaphroditic—an individual producing both sperm and eggs, usually at different stages of its life. Self-fertilization, however, is probably rare.

 

Successful reproduction and, in many cases, defense of the eggs and the young are assured by rather stereotypical but often elaborate courtship and parental behaviour, either by the male or the female or both. Some fishes prepare nests by hollowing out depressions in the sand bottom (cichlids, for example), build nests with plant materials and sticky threads excreted by the kidneys (sticklebacks), or blow a cluster of mucus-covered bubbles at the water surface (gouramis). The eggs are laid in these structures. Some varieties of cichlids and catfishes incubate eggs in their mouths.

 

Some fishes, such as salmon, undergo long migrations from the ocean and up large rivers to spawn in the gravel beds where they themselves hatched (anadromous fishes). Some, such as the freshwater eels (family Anguillidae), live and grow to maturity in fresh water and migrate to the sea to spawn (catadromous fishes). Other fishes undertake shorter migrations from lakes into streams, within the ocean, or enter spawning habitats that they do not ordinarily occupy in other ways.

 

The basic structure and function of the fish body are similar to those of all other vertebrates. The usual four types of tissues are present: surface or epithelial, connective (bone, cartilage, and fibrous tissues, as well as their derivative, blood), nerve, and muscle tissues. In addition, the fish’s organs and organ systems parallel those of other vertebrates.

 

The typical fish body is streamlined and spindle-shaped, with an anterior head, a gill apparatus, and a heart, the latter lying in the midline just below the gill chamber. The body cavity, containing the vital organs, is situated behind the head in the lower anterior part of the body. The anus usually marks the posterior termination of the body cavity and most often occurs just in front of the base of the anal fin. The spinal cord and vertebral column continue from the posterior part of the head to the base of the tail fin, passing dorsal to the body cavity and through the caudal (tail) region behind the body cavity. Most of the body is of muscular tissue, a high proportion of which is necessitated by swimming. In the course of evolution this basic body plan has been modified repeatedly into the many varieties of fish shapes that exist today.

 

The skeleton forms an integral part of the fish’s locomotion system, as well as serving to protect vital parts. The internal skeleton consists of the skull bones (except for the roofing bones of the head, which are really part of the external skeleton), the vertebral column, and the fin supports (fin rays). The fin supports are derived from the external skeleton but will be treated here because of their close functional relationship to the internal skeleton. The internal skeleton of cyclostomes, sharks, and rays is of cartilage; that of many fossil groups and some primitive living fishes is mostly of cartilage but may include some bone. In place of the vertebral column, the earliest vertebrates had a fully developed notochord, a flexible stiff rod of viscous cells surrounded by a strong fibrous sheath. During the evolution of modern fishes the rod was replaced in part by cartilage and then by ossified cartilage. Sharks and rays retain a cartilaginous vertebral column; bony fishes have spool-shaped vertebrae that in the more primitive living forms only partially replace the notochord. The skull, including the gill arches and jaws of bony fishes, is fully, or at least partially, ossified. That of sharks and rays remains cartilaginous, at times partially replaced by calcium deposits but never by true bone.

 

The supportive elements of the fins (basal or radial bones or both) have changed greatly during fish evolution. Some of these changes are described in the section below (Evolution and paleontology). Most fishes possess a single dorsal fin on the midline of the back. Many have two and a few have three dorsal fins. The other fins are the single tail and anal fins and paired pelvic and pectoral fins. A small fin, the adipose fin, with hairlike fin rays, occurs in many of the relatively primitive teleosts (such as trout) on the back near the base of the caudal fin.

 

The skin of a fish must serve many functions. It aids in maintaining the osmotic balance, provides physical protection for the body, is the site of coloration, contains sensory receptors, and, in some fishes, functions in respiration. Mucous glands, which aid in maintaining the water balance and offer protection from bacteria, are extremely numerous in fish skin, especially in cyclostomes and teleosts. Since mucous glands are present in the modern lampreys, it is reasonable to assume that they were present in primitive fishes, such as the ancient Silurian and Devonian agnathans. Protection from abrasion and predation is another function of the fish skin, and dermal (skin) bone arose early in fish evolution in response to this need. It is thought that bone first evolved in skin and only later invaded the cartilaginous areas of the fish’s body, to provide additional support and protection. There is some argument as to which came first, cartilage or bone, and fossil evidence does not settle the question. In any event, dermal bone has played an important part in fish evolution and has different characteristics in different groups of fishes. Several groups are characterized at least in part by the kind of bony scales they possess.

 

Scales have played an important part in the evolution of fishes. Primitive fishes usually had thick bony plates or thick scales in several layers of bone, enamel, and related substances. Modern teleost fishes have scales of bone, which, while still protective, allow much more freedom of motion in the body. A few modern teleosts (some catfishes, sticklebacks, and others) have secondarily acquired bony plates in the skin. Modern and early sharks possessed placoid scales, a relatively primitive type of scale with a toothlike structure, consisting of an outside layer of enamel-like substance (vitrodentine), an inner layer of dentine, and a pulp cavity containing nerves and blood vessels. Primitive bony fishes had thick scales of either the ganoid or the cosmoid type. Cosmoid scales have a hard, enamel-like outer layer, an inner layer of cosmine (a form of dentine), and then a layer of vascular bone (isopedine). In ganoid scales the hard outer layer is different chemically and is called ganoin. Under this is a cosminelike layer and then a vascular bony layer. The thin, translucent bony scales of modern fishes, called cycloid and ctenoid (the latter distinguished by serrations at the edges), lack enameloid and dentine layers.

 

Skin has several other functions in fishes. It is well supplied with nerve endings and presumably receives tactile, thermal, and pain stimuli. Skin is also well supplied with blood vessels. Some fishes breathe in part through the skin, by the exchange of oxygen and carbon dioxide between the surrounding water and numerous small blood vessels near the skin surface.

 

Skin serves as protection through the control of coloration. Fishes exhibit an almost limitless range of colours. The colours often blend closely with the surroundings, effectively hiding the animal. Many fishes use bright colours for territorial advertisement or as recognition marks for other members of their own species, or sometimes for members of other species. Many fishes can change their colour to a greater or lesser degree, by movement of pigment within the pigment cells (chromatophores). Black pigment cells (melanophores), of almost universal occurrence in fishes, are often juxtaposed with other pigment cells. When placed beneath iridocytes or leucophores (bearing the silvery or white pigment guanine), melanophores produce structural colours of blue and green. These colours are often extremely intense, because they are formed by refraction of light through the needlelike crystals of guanine. The blue and green refracted colours are often relatively pure, lacking the red and yellow rays, which have been absorbed by the black pigment (melanin) of the melanophores. Yellow, orange, and red colours are produced by erythrophores, cells containing the appropriate carotenoid pigments. Other colours are produced by combinations of melanophores, erythrophores, and iridocytes.

 

The major portion of the body of most fishes consists of muscles. Most of the mass is trunk musculature, the fin muscles usually being relatively small. The caudal fin is usually the most powerful fin, being moved by the trunk musculature. The body musculature is usually arranged in rows of chevron-shaped segments on each side. Contractions of these segments, each attached to adjacent vertebrae and vertebral processes, bends the body on the vertebral joint, producing successive undulations of the body, passing from the head to the tail, and producing driving strokes of the tail. It is the latter that provides the strong forward movement for most fishes.

 

The digestive system, in a functional sense, starts at the mouth, with the teeth used to capture prey or collect plant foods. Mouth shape and tooth structure vary greatly in fishes, depending on the kind of food normally eaten. Most fishes are predacious, feeding on small invertebrates or other fishes and have simple conical teeth on the jaws, on at least some of the bones of the roof of the mouth, and on special gill arch structures just in front of the esophagus. The latter are throat teeth. Most predacious fishes swallow their prey whole, and the teeth are used for grasping and holding prey, for orienting prey to be swallowed (head first) and for working the prey toward the esophagus. There are a variety of tooth types in fishes. Some fishes, such as sharks and piranhas, have cutting teeth for biting chunks out of their victims. A shark’s tooth, although superficially like that of a piranha, appears in many respects to be a modified scale, while that of the piranha is like that of other bony fishes, consisting of dentine and enamel. Parrot fishes have beaklike mouths with short incisor-like teeth for breaking off coral and have heavy pavementlike throat teeth for crushing the coral. Some catfishes have small brushlike teeth, arranged in rows on the jaws, for scraping plant and animal growth from rocks. Many fishes (such as the Cyprinidae or minnows) have no jaw teeth at all but have very strong throat teeth.

 

Some fishes gather planktonic food by straining it from their gill cavities with numerous elongate stiff rods (gill rakers) anchored by one end to the gill bars. The food collected on these rods is passed to the throat, where it is swallowed. Most fishes have only short gill rakers that help keep food particles from escaping out the mouth cavity into the gill chamber.

 

Once reaching the throat, food enters a short, often greatly distensible esophagus, a simple tube with a muscular wall leading into a stomach. The stomach varies greatly in fishes, depending upon the diet. In most predacious fishes it is a simple straight or curved tube or pouch with a muscular wall and a glandular lining. Food is largely digested there and leaves the stomach in liquid form.

 

Between the stomach and the intestine, ducts enter the digestive tube from the liver and pancreas. The liver is a large, clearly defined organ. The pancreas may be embedded in it, diffused through it, or broken into small parts spread along some of the intestine. The junction between the stomach and the intestine is marked by a muscular valve. Pyloric ceca (blind sacs) occur in some fishes at this junction and have a digestive or absorptive function or both.

 

The intestine itself is quite variable in length, depending upon the fish’s diet. It is short in predacious forms, sometimes no longer than the body cavity, but long in herbivorous forms, being coiled and several times longer than the entire length of the fish in some species of South American catfishes. The intestine is primarily an organ for absorbing nutrients into the bloodstream. The larger its internal surface, the greater its absorptive efficiency, and a spiral valve is one method of increasing its absorption surface.

 

Sharks, rays, chimaeras, lungfishes, surviving chondrosteans, holosteans, and even a few of the more primitive teleosts have a spiral valve or at least traces of it in the intestine. Most modern teleosts have increased the area of the intestinal walls by having numerous folds and villi (fingerlike projections) somewhat like those in humans. Undigested substances are passed to the exterior through the anus in most teleost fishes. In lungfishes, sharks, and rays, it is first passed through the cloaca, a common cavity receiving the intestinal opening and the ducts from the urogenital system.

 

Oxygen and carbon dioxide dissolve in water, and most fishes exchange dissolved oxygen and carbon dioxide in water by means of the gills. The gills lie behind and to the side of the mouth cavity and consist of fleshy filaments supported by the gill arches and filled with blood vessels, which give gills a bright red colour. Water taken in continuously through the mouth passes backward between the gill bars and over the gill filaments, where the exchange of gases takes place. The gills are protected by a gill cover in teleosts and many other fishes but by flaps of skin in sharks, rays, and some of the older fossil fish groups. The blood capillaries in the gill filaments are close to the gill surface to take up oxygen from the water and to give up excess carbon dioxide to the water.

 

Most modern fishes have a hydrostatic (ballast) organ, called the swim bladder, that lies in the body cavity just below the kidney and above the stomach and intestine. It originated as a diverticulum of the digestive canal. In advanced teleosts, especially the acanthopterygians, the bladder has lost its connection with the digestive tract, a condition called physoclistic. The connection has been retained (physostomous) by many relatively primitive teleosts. In several unrelated lines of fishes, the bladder has become specialized as a lung or, at least, as a highly vascularized accessory breathing organ. Some fishes with such accessory organs are obligate air breathers and will drown if denied access to the surface, even in well-oxygenated water. Fishes with a hydrostatic form of swim bladder can control their depth by regulating the amount of gas in the bladder. The gas, mostly oxygen, is secreted into the bladder by special glands, rendering the fish more buoyant; the gas is absorbed into the bloodstream by another special organ, reducing the overall buoyancy and allowing the fish to sink. Some deep-sea fishes may have oils, rather than gas, in the bladder. Other deep-sea and some bottom-living forms have much-reduced swim bladders or have lost the organ entirely.

 

The swim bladder of fishes follows the same developmental pattern as the lungs of land vertebrates. There is no doubt that the two structures have the same historical origin in primitive fishes. More or less intermediate forms still survive among the more primitive types of fishes, such as the lungfishes Lepidosiren and Protopterus.

 

The circulatory, or blood vascular, system consists of the heart, the arteries, the capillaries, and the veins. It is in the capillaries that the interchange of oxygen, carbon dioxide, nutrients, and other substances such as hormones and waste products takes place. The capillaries lead to the veins, which return the venous blood with its waste products to the heart, kidneys, and gills. There are two kinds of capillary beds: those in the gills and those in the rest of the body. The heart, a folded continuous muscular tube with three or four saclike enlargements, undergoes rhythmic contractions and receives venous blood in a sinus venosus. It passes the blood to an auricle and then into a thick muscular pump, the ventricle. From the ventricle the blood goes to a bulbous structure at the base of a ventral aorta just below the gills. The blood passes to the afferent (receiving) arteries of the gill arches and then to the gill capillaries. There waste gases are given off to the environment, and oxygen is absorbed. The oxygenated blood enters efferent (exuant) arteries of the gill arches and then flows into the dorsal aorta. From there blood is distributed to the tissues and organs of the body. One-way valves prevent backflow. The circulation of fishes thus differs from that of the reptiles, birds, and mammals in that oxygenated blood is not returned to the heart prior to distribution to the other parts of the body.

 

The primary excretory organ in fishes, as in other vertebrates, is the kidney. In fishes some excretion also takes place in the digestive tract, skin, and especially the gills (where ammonia is given off). Compared with land vertebrates, fishes have a special problem in maintaining their internal environment at a constant concentration of water and dissolved substances, such as salts. Proper balance of the internal environment (homeostasis) of a fish is in a great part maintained by the excretory system, especially the kidney.

 

The kidney, gills, and skin play an important role in maintaining a fish’s internal environment and checking the effects of osmosis. Marine fishes live in an environment in which the water around them has a greater concentration of salts than they can have inside their body and still maintain life. Freshwater fishes, on the other hand, live in water with a much lower concentration of salts than they require inside their bodies. Osmosis tends to promote the loss of water from the body of a marine fish and absorption of water by that of a freshwater fish. Mucus in the skin tends to slow the process but is not a sufficient barrier to prevent the movement of fluids through the permeable skin. When solutions on two sides of a permeable membrane have different concentrations of dissolved substances, water will pass through the membrane into the more concentrated solution, while the dissolved chemicals move into the area of lower concentration (diffusion).

 

The kidney of freshwater fishes is often larger in relation to body weight than that of marine fishes. In both groups the kidney excretes wastes from the body, but the kidney of freshwater fishes also excretes large amounts of water, counteracting the water absorbed through the skin. Freshwater fishes tend to lose salt to the environment and must replace it. They get some salt from their food, but the gills and skin inside the mouth actively absorb salt from water passed through the mouth. This absorption is performed by special cells capable of moving salts against the diffusion gradient. Freshwater fishes drink very little water and take in little water with their food.

 

Marine fishes must conserve water, and therefore their kidneys excrete little water. To maintain their water balance, marine fishes drink large quantities of seawater, retaining most of the water and excreting the salt. Most nitrogenous waste in marine fishes appears to be secreted by the gills as ammonia. Marine fishes can excrete salt by clusters of special cells (chloride cells) in the gills.

 

There are several teleosts—for example, the salmon—that travel between fresh water and seawater and must adjust to the reversal of osmotic gradients. They adjust their physiological processes by spending time (often surprisingly little time) in the intermediate brackish environment.

 

Marine hagfishes, sharks, and rays have osmotic concentrations in their blood about equal to that of seawater and so do not have to drink water nor perform much physiological work to maintain their osmotic balance. In sharks and rays the osmotic concentration is kept high by retention of urea in the blood. Freshwater sharks have a lowered concentration of urea in the blood.

 

Endocrine glands secrete their products into the bloodstream and body tissues and, along with the central nervous system, control and regulate many kinds of body functions. Cyclostomes have a well-developed endocrine system, and presumably it was well developed in the early Agnatha, ancestral to modern fishes. Although the endocrine system in fishes is similar to that of higher vertebrates, there are numerous differences in detail. The pituitary, the thyroid, the suprarenals, the adrenals, the pancreatic islets, the sex glands (ovaries and testes), the inner wall of the intestine, and the bodies of the ultimobranchial gland make up the endocrine system in fishes. There are some others whose function is not well understood. These organs regulate sexual activity and reproduction, growth, osmotic pressure, general metabolic activities such as the storage of fat and the utilization of foodstuffs, blood pressure, and certain aspects of skin colour. Many of these activities are also controlled in part by the central nervous system, which works with the endocrine system in maintaining the life of a fish. Some parts of the endocrine system are developmentally, and undoubtedly evolutionarily, derived from the nervous system.

 

As in all vertebrates, the nervous system of fishes is the primary mechanism coordinating body activities, as well as integrating these activities in the appropriate manner with stimuli from the environment. The central nervous system, consisting of the brain and spinal cord, is the primary integrating mechanism. The peripheral nervous system, consisting of nerves that connect the brain and spinal cord to various body organs, carries sensory information from special receptor organs such as the eyes, internal ears, nares (sense of smell), taste glands, and others to the integrating centres of the brain and spinal cord. The peripheral nervous system also carries information via different nerve cells from the integrating centres of the brain and spinal cord. This coded information is carried to the various organs and body systems, such as the skeletal muscular system, for appropriate action in response to the original external or internal stimulus. Another branch of the nervous system, the autonomic nervous system, helps to coordinate the activities of many glands and organs and is itself closely connected to the integrating centres of the brain.

 

The brain of the fish is divided into several anatomical and functional parts, all closely interconnected but each serving as the primary centre of integrating particular kinds of responses and activities. Several of these centres or parts are primarily associated with one type of sensory perception, such as sight, hearing, or smell (olfaction).

 

The sense of smell is important in almost all fishes. Certain eels with tiny eyes depend mostly on smell for location of food. The olfactory, or nasal, organ of fishes is located on the dorsal surface of the snout. The lining of the nasal organ has special sensory cells that perceive chemicals dissolved in the water, such as substances from food material, and send sensory information to the brain by way of the first cranial nerve. Odour also serves as an alarm system. Many fishes, especially various species of freshwater minnows, react with alarm to a chemical released from the skin of an injured member of their own species.

 

Many fishes have a well-developed sense of taste, and tiny pitlike taste buds or organs are located not only within their mouth cavities but also over their heads and parts of their body. Catfishes, which often have poor vision, have barbels (“whiskers”) that serve as supplementary taste organs, those around the mouth being actively used to search out food on the bottom. Some species of naturally blind cave fishes are especially well supplied with taste buds, which often cover most of their body surface.

 

Sight is extremely important in most fishes. The eye of a fish is basically like that of all other vertebrates, but the eyes of fishes are extremely varied in structure and adaptation. In general, fishes living in dark and dim water habitats have large eyes, unless they have specialized in some compensatory way so that another sense (such as smell) is dominant, in which case the eyes will often be reduced. Fishes living in brightly lighted shallow waters often will have relatively small but efficient eyes. Cyclostomes have somewhat less elaborate eyes than other fishes, with skin stretched over the eyeball perhaps making their vision somewhat less effective. Most fishes have a spherical lens and accommodate their vision to far or near subjects by moving the lens within the eyeball. A few sharks accommodate by changing the shape of the lens, as in land vertebrates. Those fishes that are heavily dependent upon the eyes have especially strong muscles for accommodation. Most fishes see well, despite the restrictions imposed by frequent turbidity of the water and by light refraction.

 

Fossil evidence suggests that colour vision evolved in fishes more than 300 million years ago, but not all living fishes have retained this ability. Experimental evidence indicates that many shallow-water fishes, if not all, have colour vision and see some colours especially well, but some bottom-dwelling shore fishes live in areas where the water is sufficiently deep to filter out most if not all colours, and these fishes apparently never see colours. When tested in shallow water, they apparently are unable to respond to colour differences.

 

Sound perception and balance are intimately associated senses in a fish. The organs of hearing are entirely internal, located within the skull, on each side of the brain and somewhat behind the eyes. Sound waves, especially those of low frequencies, travel readily through water and impinge directly upon the bones and fluids of the head and body, to be transmitted to the hearing organs. Fishes readily respond to sound; for example, a trout conditioned to escape by the approach of fishermen will take flight upon perceiving footsteps on a stream bank even if it cannot see a fisherman. Compared with humans, however, the range of sound frequencies heard by fishes is greatly restricted. Many fishes communicate with each other by producing sounds in their swim bladders, in their throats by rasping their teeth, and in other ways.

 

A fish or other vertebrate seldom has to rely on a single type of sensory information to determine the nature of the environment around it. A catfish uses taste and touch when examining a food object with its oral barbels. Like most other animals, fishes have many touch receptors over their body surface. Pain and temperature receptors also are present in fishes and presumably produce the same kind of information to a fish as to humans. Fishes react in a negative fashion to stimuli that would be painful to human beings, suggesting that they feel a sensation of pain.

 

An important sensory system in fishes that is absent in other vertebrates (except some amphibians) is the lateral line system. This consists of a series of heavily innervated small canals located in the skin and bone around the eyes, along the lower jaw, over the head, and down the mid-side of the body, where it is associated with the scales. Intermittently along these canals are located tiny sensory organs (pit organs) that apparently detect changes in pressure. The system allows a fish to sense changes in water currents and pressure, thereby helping the fish to orient itself to the various changes that occur in the physical environment.

  

Applied drawing

by Brown, Harold Haven, 1869-1932

 

Published 1916

Topics Drawing, Decoration and ornament

Applied drawing

by Brown, Harold Haven, 1869-1932

 

Published 1916

Topics Drawing, Decoration and ornament

@ Museum of Applied Arts, Budapest

Northern Constabulary Badge as utilised as police vehicle door decal

 

This is the decal applied to the sides of police vehicles from 1982 onwards, which comprises a reflective version of the Force Badge of Northern Constabulary.

 

Originally produced as 17 inch diameter, this was later reduced to half that size to take account of the trend towards protective rubbing-strips on vehicle doors, which meant it was impossible to properly site the large versions.

 

The design was the brainchild of the Force's Chief Clerk, Superintendent George I Henderson, QPM, and is an example of Celtic continuous knotwork.

 

Produced in black and white to reflect the colours of the police service, the centerpiece is a continuous strand, representing 24/7 service. The cross in the centre is the St Andrews "Saltire" Cross (as appears in the Scottish flag), and the four knots stand for the four Local Authorities which make up the Force area:

 

Highland (Regional) Council, www.highland.gov.uk/

 

Orkney Islands, www.orkney.gov.uk/

 

Shetland Isles www.shetland.gov.uk/

 

and Western Isles (Comhairle nan Eilean Siar). www.cne-siar.gov.uk/

 

The Force's title and its motto "Protect and Service" - Dion is Cuidich ("protect and help") in the two languages of the Northern Constabulary Area, English and Gaelic, appear in in a circlet, surrounded by a braided border, made up of twelve braids of three strands.

 

The strands represent the three Divisions then in place - which also approximately equated to the three former forces which made up the force when it was created on 16th May 1975, namely the Constabularies of Northern (Caithness - Orkney - Shetland), Ross & Sutherland, and Inverness (Combined County and Burgh).

 

The twelve braids signify the 12 Sub Divisions of the Force (Shetland, Orkney, Caithness, Western Isles, Sutherland, Wester Ross, Easter Ross, Inverness, Nairn, Skye & Lochalsh, Badenoch & Strathspey, and Lochaber.

 

The insignia was worn as epaulette insignia in chromed metal and its latest version had black paint to highlight the design.

 

A small woven (simplified) version was also issued for a time, as both epaulette insignia and on the breast pocket flap of all-weather jackets. The jacket badge was however soon superceded by a woven panel worded "POLICE".

 

The Force Badge also appeared on official documentation and letterheads, and police buildings.

 

In the mid 1990's the Force produced a "corporate logo" to bring the "Force Badge" up-to-date, to take account of the restructuring which saw the Divisional/Sub Divisonal (3/12) model replaced with 8 semi-autonomous Area Commands (Shetland, Orkney, Western Isles, Caithness & Sutherland, Ross Cromarty & Skye, Inverness & Nairn, Badenoch & Strathspey, and Lochaber.

 

This "corporate logo" saw the centrepiece of the original badge placed on a vertical blue stripe, which was used for vehicle decals in conjunction with a yellow horizontal reflective band running the length of the vehicle.

 

A reduced size version of the "corporate logo" (centrepiece on stripe) decal latterly featured on the Battenberg livery adopted by the force in 2005.

 

The force ceased to exist on 31st March 2013, being merged into the Police Service of Scotland the following day.

 

The Force badge remains in use in the insignia of the Northern Constabulary Community Pipe Band (which did not change its name on the force merger in 2013).

  

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

 

ID:338d8a144e3b0323ce33ca3408879cfd

 

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vehicle wrap specialists Creative FX applied this mod panel wrap to this classic Vespa scooter www.fxuk.net

So, it's my first March Break off, and I got a few things done. Got some organizing, watched Captain Marvel, and of course, went hunting for bargains on collectibles. If I applied myself, I think I probably could have went above and beyond the two I got, but they were pretty solid buys so no real complaints here.

 

The first one I'll be discussing is Allie the Thief from Code of: Princess. I'm guessing I'm probably getting many, many blank stares right now.

 

Early on in the 3DS life cycle, a little game called Code of: Princess was released. I've never played it, but the box proclaimed it as a spiritual successor of sorts to a Sega Saturn classic Guardian Heroes. If it was anything like this game, it was a hack and slash game where you could attack enemies on a 2D plane, and jump between rails that represented foreground, background, and the middle. Code of: Princess also featured special moves for each characters, blocking, and what is effectively a super mode for more chopping goodness. The game was recently updated and released on the Nintendo Switch as Code of: Princess EX.

 

Now, that's all fine and dandy, but I didn't know jack about Guardian Heroes. The fact it was a neat little game was a bonus - I bought it because of the character art.

 

All the character art I saw had this kind of familiar feel to it, particularly main characters like even Princes Solange and Allie here. Of course, hindsight is 20/20 - the reason for the familiarity was because the artist was none other than Nishimura Kinu of Capcom fame. I'm guessing based on the timing, this was one of her first projects after leaving Capcom.

 

Allie here in particular looks like she was ripped right from Power Stone.and reminds me quite a bit of Rouge.

 

So it turns out that a company called empty had the rights to product scale statues of Code of: Princess characters, and unless I'm mistaken, they only got around to doing two of them - Princess Solange in I think at least two colour variants, and Allie here.

 

It's definitely not a property that I see gets traded much on the various market places, so I jumped at an ad on Facebook and got this one.

 

For the $40 I spent, I think I did OK, given the MSRP of $80 USD roughly. There were a few things I had to live with, of course. First and foremost, you'll notice there are no pictures of a box. It came with one, but it was beat to hell so really you aren't missing much. Secondly, and I didn't notice at that time, but her (yes HER) keychain actually broke, and only one of two broken keys was found in the box. While I was able to repair it, I'm hoping the now missing key isn't the one that opens up her padlock.

 

Allie is sculpted as her profile art shows her, kneeling on one knee, sword in her left hand. One of the stranger design changes the sculptor went and implemented was the inclusion of full bodied lips. It definitely adds a sense of femininity to the piece, but it also kind of ruins it given that her androgynous nature was part of the original design.

 

Actually, now that I think about it, I think her eyes, while large and expressive like all of the Nishimura work I've seen, might actually be too large, again possibly in an attempt to make her seem more feminine because you certainly aren't going to do that with her in the T & A department. While Solange is pretty busty, I do believe her scale figure takes it to ridiculous levels, again, possibly in an attempt move more units.

 

Allie is a scrappy character as compared to the voluptuous proportions of Solange, and I'm happy to say that empty did not skimp on those details and stayed true to the source material. Much like the Cammy I looked at a few weeks back, the sculpting of the muscles is very well executed. Also, there was good detailing on her scarf, hair, sword, as well as the folds in her pants and boots. As an added bonus, as Allie has a rounder face (or possibly better reference material), she doesn't look like a zombie from the side.

 

Now, I've never examined an empty piece before, and I am happy to report that overall, the finishes on the statue are top notch. Parts are smooth, there are no assembly gaps, paint applications are smooth and clean (with the exception of some masking issues on the belt), and decal work is good. The only real point of contention would be the fact the keys came as a piece that was already attached to the belt. Making it a separate piece would have probably preventing the breaking in general.

 

So overall, a very strong piece, and from a company I've never examined at that. As I've said earlier, unless I'm mistaken, there were no other scale figures from this series. It's not like there is a shortage of great designs to choose from (the game claims 50 characters to play as). Personally, I would have loved to see a Sister Hel at least, especially since I have fond memories of using her to overpower every possible enemy in the game.

 

Well, here's to finding a Solange at a decent price!

Applied drawing

by Brown, Harold Haven, 1869-1932

 

Published 1916

Topics Drawing, Decoration and ornament

Q: Lately I've been building my kinesiology with clients that have been coming to me becoming more and more complex. I guess I've been more ready to handle them, and I had one man test positive for Non-Hodgkin’s Lymphoma, while I was testing him. And then when I sent him for blood work it didn't show. And I also have another fellow that I'm treating for cancer and when I tested him with kinesiology it showed that the cancer had moved to his brain. Now, I have told neither of these individuals what I have found, because I don't have any conclusive way to tell them that this may be real. And I have started to doubt the accuracy of it. Would you be able to tell me, have I been accurate?

 

Elias: What I will express to you is in some situations what you are tapping into is a very strong potential. Yes, what you are presenting to yourself is accurate, but it also may incorporate a factor of timing. What you may be tapping into is the individual's energy and that they may be in the process of creating that energy to generate those physical manifestations, but have not actually generated them yet.

 

Therefore, my suggestion to you would be to pay attention and to note to yourself how consistently you present that information to yourself. If you are presenting that information to yourself quite consistently for a time framework, let us say, for perhaps a period of four months. At that point, if that information has been very consistent you can trust yourself in moving in the direction of sharing that information with your client. But, the reason I express this is that at times an individual may be generating a very strong potential to create a physical manifestation, and in one moment it may be exceptionally strong, and in another moment it may be dissipated to the point that they are not creating it at all. And it is not uncommon for individuals to fluctuate in this manner, before actually engaging a direction of creating some serious physical manifestation.

 

Elias - Audio Session 2761

index.eliasweb.at/Audio

  

Applied drawing

by Brown, Harold Haven, 1869-1932

 

Published 1916

Topics Drawing, Decoration and ornament

Preparation of raw peanuts for analytical sample extractions in the characterization of allergen proteins by liquid chromatography and mass spectrometry. Hundreds of FDA scientists are working to develop the tools needed to keep bacterial and chemical contaminants out of the food supply, and to rapidly identify the disease-causing bacteria that do infiltrate foods and cause outbreaks of foodborne illnesses. Among them are the researchers at FDA's Center for Food Safety and Applied Nutrition (CFSAN), in College Park, Md.

 

This photo is free of all copyright restrictions and available for use and redistribution without permission. Credit to the U.S. Food and Drug Administration is appreciated but not required.

 

Privacy and use information: www.flickr.com/people/fdaphotos/

 

FDA photo by Michael J. Ermarth

SE 21 outside Busaras on route X8

Applied Dynamic Systems Inc. Model CEP-D410 'Fredo’ breakdown

 

Channeling Fredoichi’s MEJ-H80 ‘Sniper Droid’ (flic.kr/p/5dSoJs) and Tēsatsu - Recon Runner (flic.kr/p/7JHRiF) with the addition of big shouty guns in keeping with the traditional MFZ aesthetic.

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

Thanaka is a yellowish-white cosmetic paste made from ground bark. It is a distinctive feature of Myanmar (formerly Burma) seen commonly applied to the face and sometimes the arms of women and girls and to a lesser extent men and boys. The use of thanaka has also spread to neighboring countries including Thailand.

 

The earliest literary reference to thanaka is in a 14th-century poem written by Mon-speaking King Razadarit's consort. Mentions of thanaka also exist in the 15th century literary works of Burmese monk-poet Shin Maharatthasara (1486-1529).

 

The wood of several trees may be used to produce thanaka cream; these trees grow abundantly in central Myanmar.

 

A tree must be at least 35 years old before it is considered mature enough to yield good-quality cuttings. Thanaka in its natural state is sold as small logs individually or in bundles, but nowadays also available as a paste or in powder form.

 

Thanaka cream is made by grinding the bark, wood, or roots of a thanaka tree with a small amount water on a circular stone slab called kyauk pyin which has a channel round the rim for the water to drain into.

 

Thanaka cream has been used by Burmese women for over 2000 years. It has a fragrant scent somewhat similar to sandalwood. The creamy paste is applied to the face in attractive designs, the most common form being a circular patch on each cheek, sometimes made stripey with the fingers known as thanaka bè gya, or patterned in the shape of a leaf, often also highlighting the bridge of the nose with it at the same time. It may be applied from head to toe (thanaka chi zoun gaung zoun). Apart from cosmetic beauty, thanaka also gives a cooling sensation and provides protection from sunburn. It is believed to help remove acne and promote smooth skin. It is also an anti-fungal. The active ingredients of thanaka are coumarin and marmesin.

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Thanaka ist eine gelblich-weiße Paste aus einer fein geriebenen Baumrinde. In Myanmar wird sie von Kindern und Frauen in jedem Alter in das Gesicht gestrichen und wird salopp als birmanisches Make-up bezeichnet.

 

Die Thanakapaste wird von Jung und Alt als natürliche Kosmetik benutzt. Sie verleiht dem Gesicht ein frisches, jugendliches Aussehen, schützt gegen die UV-Strahlung der Sonne und wirkt kühlend. Zudem hat sie den Ruf, gegen Hautalterung und bei Krankheit gegen Husten und Erkältung zu wirken. Während sich Kinder und Frauen meistens das ganze Gesicht bis auf die Ohren und den Hals mit der Crème einreiben, beschränken sich die Knaben meistens auf die Wangen. Junge Frauen geben sich gerne besonders Mühe beim Make-up, weshalb manchmal schöne runde oder eckige Muster das Gesicht zieren.

 

Thanaka wird aus der Rinde des Indischen Holzapfelbaumes (Limonia acidissima) oder aus einer zu den Orangenrauten gehörenden Art (Murraya paniculata) gewonnen, die zur Familie der Rautengewächse gehören und in Südostasien verbreitet sind. Es sind kleine Bäume mit schlankem Stamm. Thanaka-Bäume nennt man in Thailand Ma-Khwit, in Kambodscha Kramsang,in Laos Ma-fit und in Malaysia Gelinggai. Die Bezeichnung als Sandelholz ist fälschlich, unter diesem Begriff werden einige ähnliche, aber nicht dieselben Holzarten zusammengefasst.

 

Der Indische Holzapfelbaum wird maximal zehn Meter hoch und blüht im Mai bzw. Juni; die kugeligen, apfelgroßen Früchte mit harter Schale reifen im November bzw. Dezember. Das Fruchtfleisch ist dunkelbraun und musartig und schmeckt nach Marmelade. Das Holz des Baumes ist sehr hart, gelblich gefärbt und verströmt einen angenehmen Duft. Das beste Thanaka wird von älteren, etwa 35 Jahre alten Bäumen gewonnen.

 

Im Handel kann man entweder die Paste fertig gemahlen oder Holzstücke von mindestens fünf Zentimeter Durchmesser kaufen, deren Rinde die Konsumenten auf einem dafür vorgesehenen Reibestein mit Wasser anrühren. Auf jedem Markt, vor vielen Tempeleingängen und auf den Straßen werden die Zutaten zu Bergen aufgetürmt angeboten.

 

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

 

ID:338d8a144e3b0323ce33ca3408879cfd

 

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I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

 

ID:338d8a144e3b0323ce33ca3408879cfd

 

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I applied for a visit to the famous Yaksan Tongdae in Nyongbyon (Yŏngbyŏn) County which is renowed for its scenic beauty. However, Nyongbyon is also the site of the North's nuclear reactor which is currently being disabled under a six-party agreement. Not surprisingly, my request was declined. The whole county was off limits for foreigners, I was told. I had to be content with a look from the motorway.

" YOKO ONO CUT PIECE

performed by john noga

 

Akron-Summit County Public Main Library Auditorium

Wednesday 29 August 2007 7pm "

 

" YOKO ONO'S CUT PIECE (1964)

Performed by John Noga, graduate assistant, The University of Akron

College of Fine and Applied Arts, Master of Arts Administration program

Introduction by Kevin Concannon, associate professor of art, UA

Wednesday, August 29, 2007 7 pm

Akron-Summit County Public Library

(The Akron-Summit County Public Library is the site of the performance, and is not a sponsor.)

  

Cut Piece

Yoko Ono's performance, Cut Piece (1964), first performed by the artist herself in

Kyoto, Japan, in 1964, will be performed this evening by graduate student and assistant

curator of the IMAGINE PEACE exhibition, John Noga. The exhibition Yoko Ono

IMAGINE PEACE, Featuring John & Yoko's Year of Peace, curated by Kevin

Concannon (with John Noga), is on display through September 7th at the Mary Schiller

Myers School of Art's Emily Davis Gallery in Folk Hall (150 E. Exchange St, Akron)

on the campus of The University of Akron.

  

While Cut Piece is now widely understood as a feminist performance piece, Ono's early

performances of the work were commonly understood quite differently. Ono performed

the piece a number of times between 1964 and 1966. At the time, she spoke of it as a test

of her commitment as an artist. She frequently told interviewers a story about the

Buddha in which he comes across a hungry lioness and her cubs. taking pity on her

plight, he hurls his body off a cliff above the lioness, scattering the pieces of his body to

offer nourishment to the animals. At the moment of his leap, he achieves enlightenment.

  

Ono also often discussed the piece as an attempt to move beyond the artist's ego. The

artist, she explained, often gave his audience what he thought they should have. She

wished instead for the audience to take what it wanted from the work. With Cut Piece,

she expressed this quite literally.

  

The performance score (instructions) calls for the performer to sit on the stage wearing

his or her best suit of clothing with a pair of scissors placed in front of him or her. it is

then announced that members of the audience may approach the stage one at a time to cut

a piece of clothing that they may take with them. The performance ends at the

performer's discretion. Witnessing the performance, it becomes clear that the cutters are

performers as well. The audience observes that each voluntary participation has their own

unique and distinct approach to the work.

  

in 2003, Ono performed the work personally for the last time. She did it, she says, for

peace, and against ageism, racism, and sexism.

  

Thank you for being a part of tonight's special performance of Yoko Ono's Cut Piece

  

The Mary Schiller Myers School of Art

The University of Akron "

   

YOKO ONO'S CUT PIECE (1964)

Performed by John Noga, graduate assistant, The University of Akron

College of Fine and Applied Arts, Master of Arts Administration program

Introduction by Kevin Concannon, associate professor of art, UA

Wednesday, August 29, 2007 7 pm

Akron-Summit County Public Library

University of Applied Sciences

 

Das Gebäude stammt aus den Jahren 1901 bis 1904 und diente als Kaserne des Infanterie-Regiments Nr. 55. In den Jahren 1994 bis 1997 wurde es zu Schulen umgebaut.

 

The building dates from 1901 to 1904 and served as a barracks of the infantry regiment No. 55 In the years 1994 to 1997 it was converted into schools.

 

Le bâtiment date de 1901 à 1904 et a servi de caserne de la n ° régiment d'infanterie 55 Dans les années 1994 à 1997 il a été transformé dans les écoles.

Glue is applied to a part of the radio transmitter that will surround another part after it is placed on the leg of a Whooping Crane. Two colored leg bands are already on the other leg. These help to identify a specific bird by sight from a distance. Wheeler National Wildlife Refuge, Decatur, AL. Photo: Bill Gates, USFWS

I will gradually move my content to my deviantart.com page for practical reasons but also for policy reasons applied to adult images on Flickr. This will give me more flexibility and the ability to post images without any censorship.

If you like my creations, join us on my page ♡♡♡

 

www.deviantart.com/satinafetish

Network Group Manager Andy Kowalski works inside the Jefferson Lab Data Center on Thursday, Dec. 1, 2022. (Photo by Aileen Devlin | Jefferson Lab)

 

Thomas Jefferson National Accelerator Facility (Jefferson Lab) provides scientists worldwide the lab’s unique particle accelerator, known as the Continuous Electron Beam Accelerator Facility (CEBAF), to probe the most basic building blocks of matter by conducting research at the frontiers of nuclear physics (NP) and related disciplines.

 

In addition, the lab capitalizes on its unique technologies and expertise to perform advanced computing and applied research with industry and university partners, and provides programs designed to help educate the next generation in science and technology.

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