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Jingili Water Gardens day 8-10
In a social environment, each repeating action is slightly different, even when social interactions are limited to a few actors and a limited range of actions is undertaken.
Walking past a stranger and muttering 'good morning' or making a hand or facial gesture, whilst limited is also grounding. Each repeated action improves the experience of the activity. The smile gets bigger and ignoring more pronounced. The gesture shifts from novel to heightened and then to automation. Simple transactions fall into the shadows or normality. The gesture occurs without realization. It is systematized. Is there a way of not plateauing into reductive repetitive activity and to continually improve the experience?
Perhaps gamification? For example, one reaction for one person and another for another person.
My original and prior thoughts were that continuous and repeated actions inhibit each transaction's ability to adapt. So mix it up - change hand & facial gestures - make the play in how the transaction initiates and concludes. Perhaps, switch the which side of the path the transaction occurs. This way the humanness within the transaction transpires the actual activity of walking on a designated and identical path. At what point does this approach breakthrough social norms to become non-sensical or even perceived as a threat?
Obviously, the superficialness of the greeting of unknown people within a simple scenario is different than that of a more complex scenario like greeting known co-workers every morning where discussion is likely to occur. However, the question of improving transactions in social media platforms is comparable. At what time does liking the same person's creative post stop having a sense of quality or uplifting emotion and enters the realm of superficial habit. Doing it because that is what you do or gaming up by employing emojis, comments, and self-promotional statements/links. There is creative opportunities within each transaction within systemic understandings acceptable norms.
It would be stupid if I thought that after 10 days of visiting Jingili Water Gardens, at more or less the same time and following the same path my ability to adapt would be stunted. After 10 circuits over 10 days, I am starting to anticipate what I will most likely encounter, and surprises become significant. It is enjoyable crossing paths with the same people, dogs, and birds. I do enjoy how the sun interacts with the trees and other artifacts within the gardens. Like a game of chess, I am seeing possibilities and anticipating what I can do. I can forecast that if I repeated my actions over a year, my structural, physiological, and behavioral insights would become finer and finer. If I could maintain this level of reflection, the data I collect on each and every transaction would compound, and my knowledge would transcend to a new level of expertise. If I do not maintain this level of reflection will the activity become a chore and a lockin
The promise of Artificial Intelligence and automation is about freeing us from the tyranny of repetitive tasks. Is reflection a burden and will AI extend its capacity to respond on my behalf? More importantly, will I employ it? The symbiotic relationship of walking through Jingili Water Gardens and reflective writing has enabled a creative response. Combined, both repetitive activities required time and effort, dedication and discipline to gain a semblance of personal reward. My simple question is - how do humans gain expertise of intrinsic satisfaction without engaging repetition? My more complex question regards the systematization of Artificial Intelligence and the problem of freedom without repetition.
If the promise is, freedom from repetition enables people to engage in more complex endeavors, however, how do we step up to more complex endeavors without repetition? How does that work in teaching? Will that mean teaching will become more complex, learning will increase and creativity will flourish?
In regards to creating great music, can this be done without developing a skills platform? Iterative improvement, through a step and repeat based process, can create exceptional art. Jackson Pollock achieved remarkable paintings through a repetitive action-based methodology. Despite the similarities, not one of his paintings is a replicant. At the heart, Pollock's artistic creativity is both repetition and reflection. On this basis, the complexity of reflection increases the output enriches. This leads to the next question if creativity is based on iterative improvement at what point is improvement non-recognizable.
Baldessari Cremation Project highlights the normality plateau many repetitive creatives find themselves - that is an expression that relies on iterative improvement eventually recycles and becomes reductive.
In regards to Jingili Water Gardens, how many repeated walks and how much reflection can be applied before reduction occurs and I am basically recycling? I will not reach this realization as I know that the repetitive loop will be broken once I return to work. So on this realization, this is my last Jingili Water Garden reflection.
What have I learned from the experience and reflection?
My quest was to discipline myself into a repetitive activity to question 'just doing it' normality, to observe freedom, and to self impose restricted actions within societal restrictions to find a path forward that increased my creatively in the twilight years of my professional career and address ways of re-entering an artistic career post 60. I believe that I have found a nebulous idea and my next logical step is to goal map creative growth across education and artistic expressions. There are two systems I need to reevaluate and build within. My creativity will be essentially adaptive. That is from within.
Since I graduated in 1981 as an artist and 1983 as an educator much has changed. Within the contemporary art realm, narrative, identity, and experience have become an increasingly important design agent. There are more people who are interested in contemporary art, there are more gallery agents, more venues, more ways to publicize and make publication. Studio arts have exponentiated into a wider scoped creative arts industry. What I can observe is that contemporary art is moving from the margin towards the center. The arts industry seems more professional and commercial in that it not only operates in elite circles but on a mass scale based on a smaller price dividend. Art events are becoming more and more spectacular. As this growth has broadened user base, traditional media-based fine art products have shifted from the leading thought to that of the level of craft. It has found it's based on media specialization. Technology has shifted contemporary artists from producing and refining style to seeking new modes of critical dialogue. The artist-as-genius model has expired. Wow - how do I step into this paradigm?
The expansion of education into society has significantly transformed society. When I entered university it was a privilege of the few. Most students did not complete their senior secondary school. Perhaps the biggest change has been in the realm of completion to “lifelong learning. There is no endpoint. The link between national growth and personal growth through formal education is established. National growth, human capital, and educational attainment underlines human prosperity. I need to question my hierarchical status. Do I remain operational in my current position and incrementally improve until I reach reduction or do I break the loop into a new paradigm of improvement?
What I have gained from the repetitive walks through Jingili Water Gardens and applied reflection is that the creative system is the system thinking. For creativity to benefit systems it cannot be as simple as - get another idea and then just do it. The components that form a system must be viewed as a whole and thinking as a whole. A creative system observes itself thinking throughout its own repetitive iterations. It takes time and thinking discipline for systems to realize creativity. Systems lose creative scope and become reductive and deprecatory. These systems need to reflect on their repetitive artifacts.
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I went to Paris to stay with my friend, Aurelia. To coincide with my trip, i was to take photos of the not so obvious Paris for a magazine based in Norwich called Partywolf. There will be more photos to come and an article to write up as well.
This was shot at Le Louvre.
Young hearts don't always beat to standard verse & chorus.
We'll deviate from your script & fake our own deaths tonight.
We've plotted our escape, using these instruments & a corrupt language.
With voices stronger than those projected.
The stage is set, but the set's a fake.
We refuse to memorise the soundtrack to your racket and i will not choreograph the next distraction.
Interruption is music to our ears.
Everything written down is an act.
Ampere
The lighthouse at the pier head was completed in 1903. Its distinctive stripes are of naturally coloured red and white Aberdeen granite. When built it was said to be Britain's most powerful port lighthouse. Equipped with a third-order rotating catadioptric optic (consisting of a single-panel Fresnel lens backed by a prismatic mirror), it displayed a single flash every five seconds. The lighthouse had initially (like its predecessors) been lit by gas from the town mains, but the supply to the end of the pier was found to be intermittent so the gas light was soon replaced by a Chance Brothers incandescent petroleum vapour mantle lamp. This increased the effective intensity of the light from 40,000 to 150,000 candle power, to give it a range of 15 nautical miles (28 km; 17 mi).
A fog siren was also provided, powered by compressed air from a pair of 7-horsepower gas engines located in the basement. It gave a two-second blast every twenty seconds in foggy weather from a sounder on the parapet, which was regulated by clockwork
The light was semi-automated in 1936 when a new light system was installed by AGA. The main lamp was a 750-watt incandescent light bulb, with a gas mantle lamp (fed from the town supply) provided as a stand-by, activated by an automatic lamp changer; and a small electric motor automatically wound the clockwork which rotated the lens.
Full automation followed in 1972, when the old optic was replaced by two back-to-back arrays of six sealed beam units mounted on an AGA gearless rotating pedestal, to give the light an increased range of 23 nautical miles (43 km; 26 mi); a new fog horn was also provided at the same time. The system was supervised remotely from the Pilot House on the Old North Pier. Subsequent to its removal the 1903 optic was added to the maritime collection of Sunderland Museum and Art Gallery.
In 2007 the lighting system was again replaced with a dual-drive Pelangi PRL400 rotating pedestal and lamp.
Roker Pier Lighthouse still functions today. Both pier and lighthouse have undergone significant refurbishment in recent years. In 2012, as part of the restoration, a new flashing LED lamp array was installed, replacing the small Pelangi unit previously in use. In 2018, following a comprehensive six-year process of refurbishment, the lighthouse was opened to the public for the first time; regular guided tours now take place, with access provided by way of the tunnel which runs the length of the pier.
Sunderland is a port city[a] in Tyne and Wear, North East England. It is located at the mouth of the River Wear on the North Sea, approximately 10 miles (16 km) south-east of Newcastle upon Tyne. The city has a population of 168,277, making it the second largest settlement in the North East after Newcastle. It is the administrative centre of the metropolitan borough of the same name.
The centre of the modern city is an amalgamation of three settlements founded in the Anglo-Saxon era: Monkwearmouth, on the north bank of the Wear, and Sunderland and Bishopwearmouth on the south bank. Monkwearmouth contains St Peter's Church, which was founded in 674 and formed part of Monkwearmouth–Jarrow Abbey, a significant centre of learning in the seventh and eighth centuries. Sunderland was a fishing settlement and later a port, being granted a town charter in 1179. The city traded in coal and salt, also developing shipbuilding industry in the fourteenth century and glassmaking industry in the seventeenth century. Following the decline of its traditional industries in the late 20th century, the area became an automotive building centre. In 1992, the borough of Sunderland was granted city status. It is historically part of County Durham.
Locals from the city are sometimes known as Mackems, a term which came into common use in the 1970s. ; its use and acceptance by residents, particularly among the older generations, is not universal. The term is also applied to the Sunderland dialect, which shares similarities with the other North East England dialects.
In 685, King Ecgfrith granted Benedict Biscop a "sunder-land". Also in 685 The Venerable Bede moved to the newly founded Jarrow monastery. He had started his monastic career at Monkwearmouth monastery and later wrote that he was "ácenned on sundorlande þæs ylcan mynstres" (born in a separate land of this same monastery). This can be taken as "sundorlande" (being Old English for "separate land") or the settlement of Sunderland. Alternatively, it is possible that Sunderland was later named in honour of Bede's connections to the area by people familiar with this statement of his.
Early history
The earliest inhabitants of the Sunderland area were Stone Age hunter-gatherers and artifacts from this era have been discovered, including microliths found during excavations at St Peter's Church, Monkwearmouth. During the final phase of the Stone Age, the Neolithic period (c. 4000 – c. 2000 BC), Hastings Hill, on the western outskirts of Sunderland, was a focal point of activity and a place of burial and ritual significance. Evidence includes the former presence of a cursus monument.
Roman Empire
It is believed the Brigantes inhabited the area around the River Wear in the pre- and post-Roman era. There is a long-standing local legend that there was a Roman settlement on the south bank of the River Wear on what is the site of the former Vaux Brewery, although no archaeological investigation has taken place.
In March 2021, a "trove" of Roman artefacts were recovered in the River Wear at North Hylton, including four stone anchors, a discovery of huge significance that may affirm a persistent theory of a Roman Dam or Port existing at the River Wear.
Recorded settlements at the mouth of the Wear date to 674, when an Anglo-Saxon nobleman, Benedict Biscop, granted land by King Ecgfrith of Northumbria, founded the Wearmouth–Jarrow (St Peter's) monastery on the north bank of the river—an area that became known as Monkwearmouth. Biscop's monastery was the first built of stone in Northumbria. He employed glaziers from France and in doing he re-established glass making in Britain. In 686 the community was taken over by Ceolfrid, and Wearmouth–Jarrow became a major centre of learning and knowledge in Anglo-Saxon England with a library of around 300 volumes.
The Codex Amiatinus, described by White as the 'finest book in the world', was created at the monastery and was likely worked on by Bede, who was born at Wearmouth in 673. This is one of the oldest monasteries still standing in England. While at the monastery, Bede completed the Historia ecclesiastica gentis Anglorum (The Ecclesiastical History of the English People) in 731, a feat which earned him the title The father of English history.
In the late 8th century the Vikings raided the coast, and by the middle of the 9th century the monastery had been abandoned. Lands on the south side of the river were granted to the Bishop of Durham by Athelstan of England in 930; these became known as Bishopwearmouth and included settlements such as Ryhope which fall within the modern boundary of Sunderland.
Medieval developments after the Norman conquest
In 1100, Bishopwearmouth parish included a fishing village at the southern mouth of the river (now the East End) known as 'Soender-land' (which evolved into 'Sunderland'). This settlement was granted a charter in 1179 by Hugh Pudsey, then the Bishop of Durham (who had quasi-monarchical power within the County Palatine); the charter gave its merchants the same rights as those of Newcastle-upon-Tyne, but it nevertheless took time for Sunderland to develop as a port. Fishing was the main commercial activity at the time: mainly herring in the 13th century, then salmon in the 14th and 15th centuries. From 1346 ships were being built at Wearmouth, by a merchant named Thomas Menville, and by 1396 a small amount of coal was being exported.
Rapid growth of the port was initially prompted by the salt trade. Salt exports from Sunderland are recorded from as early as the 13th century, but in 1589 salt pans were laid at Bishopwearmouth Panns (the modern-day name of the area the pans occupied is Pann's Bank, on the river bank between the city centre and the East End). Large vats of seawater were heated using coal; as the water evaporated, the salt remained. As coal was required to heat the salt pans, a coal mining community began to emerge. Only poor-quality coal was used in salt panning; better-quality coal was traded via the port, which subsequently began to grow.
17th century
Both salt and coal continued to be exported through the 17th century, but the coal trade grew significantly (2–3,000 tons of coal were exported from Sunderland in the year 1600; by 1680 this had increased to 180,000 tons). Because of the difficulty for colliers trying to navigate the shallow waters of the Wear, coal mined further inland was loaded onto keels (large, flat-bottomed boats) and taken downriver to the waiting colliers. The keels were manned by a close-knit group of workers known as 'keelmen'.
In 1634 a charter was granted by Bishop Thomas Morton, which incorporated the inhabitants of the 'antient borough' of Sunderland as the 'Mayor, Aldermen and Commonality' of the Borough and granted the privilege of a market and an annual fair. While as a consequence a mayor and twelve aldermen were appointed and a common council established, their establishment does not seem to have survived the ensuing Civil War.
Before the 1st English civil war the North, with the exclusion of Kingston upon Hull, declared for the King. In 1644 the North was captured by parliament. The villages that later become Sunderland, were taken in March 1644. One artifact of the English civil war near this area was the long trench; a tactic of later warfare. In the village of Offerton roughly three miles inland from the area, skirmishes occurred. Parliament also blockaded the River Tyne, crippling the Newcastle coal trade which allowed the coal trade of the area to flourish for a short period. There was intense rivalry between the ports of Sunderland and Newcastle when the two towns took opposing sides in the Civil War.
In 1669, after the Restoration, King Charles II granted letters patent to one Edward Andrew, Esq. to 'build a pier and erect a lighthouse or lighthouses and cleanse the harbour of Sunderland', and authorised the levying of a tonnage duty on shipping in order to raise the necessary funds; however it took time before these improvements were realized.
There is evidence of a growing number of shipbuilders or boatbuilders being active on the River Wear in the late 17th century: among others, the banking family Goodchilds opened a building yard in 1672 (it eventually closed when the bank went out of business in 1821); and in 1691 one Thomas Burn aged 17 is recorded as having taken over the running of a yard from his mother.
18th century
The River Wear Commission was formed in 1717 in response to the growing prosperity of Sunderland as a port. Under the Board of Commissioners (a committee of local land owners, ship owners, colliery owners and merchants) a succession of civil engineers adapted the natural riverscape to meet the needs of maritime trade and shipbuilding. Their first major harbour work was the construction in stone of the South Pier (later known as the Old South Pier), begun in 1723 with the aim of diverting the river channel away from sandbanks; the building of the South Pier continued until 1759. By 1748 the river was being manually dredged. A northern counterpart to the South Pier was not yet in place; instead, a temporary breakwater was formed at around this time, consisting of a row of piles driven into the seabed interspersed with old keelboats. From 1786 work began on a more permanent North Pier (which was later known as the Old North Pier): it was formed from a wooden frame, filled with stones and faced with masonry, and eventually extended 1,500 ft (460 m) into the sea. The work was initially overseen by Robert Stout (the Wear Commissioners' Engineer from 1781 to 1795). In 1794 a lighthouse was built at the seaward end, by which time around half the pier had been enclosed in masonry; it was completed in 1802.
By the start of the 18th century the banks of the Wear were described as being studded with small shipyards, as far as the tide flowed. After 1717, measures having been taken to increase the depth of the river, Sunderland's shipbuilding trade grew substantially (in parallel with its coal exports). A number of warships were built, alongside many commercial sailing ships. By the middle of the century the town was probably the premier shipbuilding centre in Britain. By 1788 Sunderland was Britain's fourth largest port (by measure of tonnage) after London, Newcastle and Liverpool; among these it was the leading coal exporter (though it did not rival Newcastle in terms of home coal trade). Still further growth was driven across the region, towards the end of the century, by London's insatiable demand for coal during the French Revolutionary Wars.
Sunderland's third-biggest export, after coal and salt, was glass. The town's first modern glassworks were established in the 1690s and the industry grew through the 17th century. Its flourishing was aided by trading ships bringing good-quality sand (as ballast) from the Baltic and elsewhere which, together with locally available limestone (and coal to fire the furnaces) was a key ingredient in the glassmaking process. Other industries that developed alongside the river included lime burning and pottery making (the town's first commercial pottery manufactory, the Garrison Pottery, had opened in old Sunderland in 1750).
The world's first steam dredger was built in Sunderland in 1796-7 and put to work on the river the following year. Designed by Stout's successor as Engineer, Jonathan Pickernell jr (in post from 1795 to 1804), it consisted of a set of 'bag and spoon' dredgers driven by a tailor-made 4-horsepower Boulton & Watt beam engine. It was designed to dredge to a maximum depth of 10 ft (3.0 m) below the waterline and remained in operation until 1804, when its constituent parts were sold as separate lots. Onshore, numerous small industries supported the business of the burgeoning port. In 1797 the world's first patent ropery (producing machine-made rope, rather than using a ropewalk) was built in Sunderland, using a steam-powered hemp-spinning machine which had been devised by a local schoolmaster, Richard Fothergill, in 1793; the ropery building still stands, in the Deptford area of the city.
Urban developments
In 1719, the parish of Sunderland was carved from the densely populated east end of Bishopwearmouth by the establishment of a new parish church, Holy Trinity Church, Sunderland (today also known as Sunderland Old Parish Church). Later, in 1769, St John's Church was built as a chapel of ease within Holy Trinity parish; built by a local coal fitter, John Thornhill, it stood in Prospect Row to the north-east of the parish church. (St John's was demolished in 1972.) By 1720 the port area was completely built up, with large houses and gardens facing the Town Moor and the sea, and labourers' dwellings vying with manufactories alongside the river. The three original settlements of Wearmouth (Bishopwearmouth, Monkwearmouth and Sunderland) had begun to combine, driven by the success of the port of Sunderland and salt panning and shipbuilding along the banks of the river. Around this time, Sunderland was known as 'Sunderland-near-the-Sea'.
By 1770 Sunderland had spread westwards along its High Street to join up with Bishopwearmouth. In 1796 Bishopwearmouth in turn gained a physical link with Monkwearmouth following the construction of a bridge, the Wearmouth Bridge, which was the world's second iron bridge (after the famous span at Ironbridge). It was built at the instigation of Rowland Burdon, the Member of Parliament (MP) for County Durham, and described by Nikolaus Pevsner as being 'a triumph of the new metallurgy and engineering ingenuity [...] of superb elegance'. Spanning the river in a single sweep of 236 feet (72 m), it was over twice the length of the earlier bridge at Ironbridge but only three-quarters the weight. At the time of building, it was the biggest single-span bridge in the world; and because Sunderland had developed on a plateau above the river, it never suffered from the problem of interrupting the passage of high-masted vessels.
Defences
During the War of Jenkins' Ear a pair of gun batteries were built (in 1742 and 1745) on the shoreline to the south of the South Pier, to defend the river from attack (a further battery was built on the cliff top in Roker, ten years later). One of the pair was washed away by the sea in 1780, but the other was expanded during the French Revolutionary Wars and became known as the Black Cat Battery. In 1794 Sunderland Barracks were built, behind the battery, close to what was then the tip of the headland.
19th century
In 1802 a new, 72 ft (22 m) high octagonal stone lighthouse was built on the end of the newly finished North Pier, designed by the chief Engineer Jonathan Pickernell. At the same time he built a lighthouse on the South Pier, which showed a red light (or by day a red flag) when the tide was high enough for ships to pass into the river. From 1820 Pickernell's lighthouse was lit by gas from its own gasometer. In 1840 work began to extend the North Pier to 1,770 ft (540 m) and the following year its lighthouse was moved in one piece, on a wooden cradle, to its new seaward end, remaining lit each night throughout the process.
Local government
In 1809 an Act of Parliament was passed creating an Improvement Commission, for 'paving, lighting, cleansing, watching and otherwise improving the town of Sunderland'; this provided the beginnings of a structure of local government for the township as a whole. Commissioners were appointed, with the power to levy contributions towards the works detailed in the Act, and in 1812–14 the Exchange Building was built, funded by public subscription, to serve as a combined Town Hall, Watch House, Market Hall, Magistrate's Court, Post Office and News Room. It became a regular gathering place for merchants conducting business, and the public rooms on the first floor were available for public functions when not being used for meetings of the Commissioners. By 1830 the Commissioners had made a number of improvements, ranging from the establishment of a police force to installing gas lighting across much of the town.
In other aspects, however, Local government was still divided between the three parishes (Holy Trinity Church, Sunderland, St Michael's, Bishopwearmouth, and St Peter's Church, Monkwearmouth) and when cholera broke out in 1831 their select vestrymen were unable to cope with the epidemic. Sunderland, a main trading port at the time, was the first British town to be struck with the 'Indian cholera' epidemic. The first victim, William Sproat, died on 23 October 1831. Sunderland was put into quarantine, and the port was blockaded, but in December of that year the disease spread to Gateshead and from there, it rapidly made its way across the country, killing an estimated 32,000 people; among those to die was Sunderland's Naval hero Jack Crawford. (The novel The Dress Lodger by American author Sheri Holman is set in Sunderland during the epidemic.)
Demands for democracy and organised town government saw the three parishes incorporated as the Borough of Sunderland in 1835. Later, the Sunderland Borough Act of 1851 abolished the Improvement Commission and vested its powers in the new Corporation.
Coal, staiths, railways and docks
In the early nineteenth century 'the three great proprietors of collieries upon the Wear [were] Lord Durham, the Marquis of Londonderry and the Hetton Company'. In 1822 the Hetton colliery railway was opened, linking the company's collieries with staiths ('Hetton Staiths') on the riverside at Bishopwearmouth, where coal drops delivered the coal directly into waiting ships. Engineered by George Stephenson, it was the first railway in the world to be operated without animal power, and at the time (albeit briefly) was the longest railway in the world. At the same time Lord Durham began establishing rail links to an adjacent set of staiths ('Lambton Staiths'). Lord Londonderry, on the other hand, continued conveying his coal downriver on keels; but he was working on establishing his own separate port down the coast at Seaham Harbour.
Although the volume of coal exports were increasing, there was a growing concern that without the establishment of a purpose-built dock Sunderland would start losing trade to Newcastle and Hartlepool. The colliery rail links were on the south side of the river, but Sir Hedworth Williamson, who owned much of the land on the north bank, seized the initiative. He formed the Wearmouth Dock Company in 1832, obtained a Royal Charter for establishing a dock at Monkwearmouth riverside, and engaged no less a figure than Isambard Kingdom Brunel to provide designs (not only for docks but also for a double-deck suspension bridge to provide a rail link to the opposite side of the river). Building of the dock went ahead (albeit the smallest of Brunel's proposals) but not of the bridge; the resulting North Dock, opened in 1837, soon proved too small at 6 acres (2.4 ha), and it suffered through lack of a direct rail link to the colliery lines south of the Wear (instead, it would be linked, by way of the Brandling Junction Railway from 1839, to collieries in the Gateshead area).
Also in Monkwearmouth, further upstream, work began in 1826 on sinking a pit in the hope of reaching the seams of coal (even though, at this location, they were deep underground). Seven years later, coal was struck at 180 fathoms; digging deeper, the Bensham seam was found the following year at 267 fathoms and in 1835 Wearmouth Colliery, which was then the deepest mine in the world, began producing coal. When the superior Hutton seam was reached, at a still greater depth in 1846, the mine (which had begun as a speculative enterprise by Messrs Pemberton and Thompson) began to be profitable.
Meanwhile, south of the river, the Durham & Sunderland Railway Co. built a railway line across the Town Moor and established a passenger terminus there in 1836. In 1847 the line was bought by George Hudson's York and Newcastle Railway. Hudson, nicknamed 'The Railway King', was Member of Parliament for Sunderland and was already involved in a scheme to build a dock in the area. In 1846 he had formed the Sunderland Dock Company, which received parliamentary approval for the construction of a dock between the South Pier and Hendon Bay. The engineer overseeing the project was John Murray; the foundation stone for the entrance basin was laid in February 1848, and by the end of the year excavation of the new dock was largely complete, the spoil being used in the associated land reclamation works. Lined with limestone and entered from the river by way of a half tide basin, the dock (later named Hudson Dock) was formally opened by Hudson on 20 June 1850. Most of the dockside to the west was occupied with coal staiths linked to the railway line, but there was also a warehouse and granary built at the northern end by John Dobson in 1856 (this, along with a second warehouse dating from the 1860s, was demolished in 1992).
In 1850–56 a half-tidal sea-entrance was constructed at the south-east corner of the dock, protected by a pair of breakwaters, to allow larger ships to enter the dock direct from the North Sea. At the same time (1853–55) Hudson Dock itself was extended southwards and deepened, and, alongside the entrance basin to the north, the first of a pair of public graving docks was built. In 1854 the Londonderry, Seaham & Sunderland Railway opened, linking the Londonderry and South Hetton collieries to a separate set of staiths at Hudson Dock South. It also provided a passenger service from Sunderland to Seaham Harbour.
In 1859 the docks were purchased by the River Wear Commissioners. Under Thomas Meik as engineer the docks were further extended with the construction of Hendon Dock to the south (1864–67). (Hendon Dock was entered via Hudson Dock South, but in 1870 it too was provided with a half-tidal sea-entrance providing direct access from the North Sea.) Under Meik's successor, Henry Hay Wake, Hudson Dock was further enlarged and the entrances were improved: in 1875 lock gates were installed (along with a swing bridge) at the river entrance, to allow entry at all states of the tide; they were powered by hydraulic machinery, installed by Sir William Armstrong in the adjacent dock office building. Similarly, a new sea lock was constructed at the south-east entrance in 1877–80. The breakwater (known as the 'Northeast Pier') which protected the sea entrance to the docks was provided with a lighthouse (29 ft (8.8 m) high and of lattice construction, since demolished) which Chance Brothers equipped with a fifth-order optic and clockwork occulting mechanism in 1888; it displayed a sector light: white indicating the fairway and red indicating submerged hazards.
By 1889 two million tons of coal per year was passing through the dock. The eastern wharves, opposite the coal staiths, were mainly occupied by saw mills and timber yards, with large open spaces given over to the storage of pit props for use in the mines; while to the south of Hendon Dock, the Wear Fuel Works distilled coal tar to produce pitch, oil and other products.
After completion of the dock works, H. H. Wake embarked on the construction of Roker Pier (part of a scheme to protect the river approach by creating an outer harbour). Protection of a different kind was provided by the Wave Basin Battery, armed with four RML 80 pounder 5 ton guns, constructed just inside the Old South Pier in 1874.
Increasing industrialisation had prompted affluent residents to move away from the old port area, with several settling in the suburban terraces of the Fawcett Estate and Mowbray Park. The area around Fawcett Street itself increasingly functioned as the civic and commercial town centre. In 1848 George Hudson's York, Newcastle and Berwick Railway built a passenger terminus, Monkwearmouth Station, just north of Wearmouth Bridge; and south of the river another passenger terminus, in Fawcett Street, in 1853. Later, Thomas Elliot Harrison (chief engineer to the North Eastern Railway) made plans to carry the railway across the river; the Wearmouth Railway Bridge (reputedly 'the largest Hog-Back iron girder bridge in the world') opened in 1879. In 1886–90 Sunderland Town Hall was built in Fawcett Street, just to the east of the railway station, to a design by Brightwen Binyon.
Sunderland's shipbuilding industry continued to grow through most of the 19th century, becoming the town's dominant industry and a defining part of its identity. By 1815 it was 'the leading shipbuilding port for wooden trading vessels' with 600 ships constructed that year across 31 different yards. By 1840 the town had 76 shipyards and between 1820 and 1850 the number of ships being built on the Wear increased fivefold. From 1846 to 1854 almost a third of the UK's ships were built in Sunderland, and in 1850 the Sunderland Herald proclaimed the town to be the greatest shipbuilding port in the world.
During the century the size of ships being built increased and technologies evolved: in 1852 the first iron ship was launched on Wearside, built by marine engineer George Clark in partnership with shipbuilder John Barkes. Thirty years later Sunderland's ships were being built in steel (the last wooden ship having been launched in 1880). As the century progressed, the shipyards on the Wear decreased in number on the one hand, but increased in size on the other, so as to accommodate the increasing scale and complexity of ships being built.
Shipyards founded in the 19th century, and still operational in the 20th, included:
Sir James Laing & Sons (established by Philip Laing at Deptford in 1818, renamed Sir James Laing & sons in 1898)
S. P. Austin (established in 1826 at Monkwearmouth, moving across the river to a site alongside Wearmouth Bridge in 1866)
Bartram & Sons (established at Hylton in 1837, moved to South Dock in 1871)
William Doxford & Sons (established at Cox Green in 1840, moved to Pallion in 1857)
William Pickersgill's (established at Southwick in 1845)
J. L. Thompson & Sons (yard established at North Sands by Robert Thompson in 1846, taken over by his son Joseph in 1860, another son (also Robert) having established his own yard at Southwick in 1854)
John Crown & Sons (yard established at Monkwearmouth by Luke Crown (or Crone) by 1807, taken over by his grandson Jackie in 1854)
Short Brothers (established by George Short in 1850, moved to Pallion in 1866)
Sir J Priestman (established at Southwick in 1882)
Alongside the shipyards, marine engineering works were established from the 1820s onwards, initially providing engines for paddle steamers; in 1845 a ship named Experiment was the first of many to be converted to steam screw propulsion. Demand for steam-powered vessels increased during the Crimean War; nonetheless, sailing ships continued to be built, including fast fully-rigged composite-built clippers, including the City of Adelaide in 1864 and Torrens (the last such vessel ever built), in 1875.
Other industries
By the middle of the century glassmaking was at its height on Wearside. James Hartley & Co., established in Sunderland in 1836, grew to be the largest glassworks in the country and (having patented an innovative production technique for rolled plate glass) produced much of the glass used in the construction of the Crystal Palace in 1851. A third of all UK-manufactured plate glass was produced at Hartley's by this time. Other manufacturers included the Cornhill Flint Glassworks (established at Southwick in 1865), which went on to specialise in pressed glass, as did the Wear Flint Glassworks (which had originally been established in 1697). In addition to the plate glass and pressed glass manufacturers there were 16 bottle works on the Wear in the 1850s, with the capacity to produce between 60 and 70,000 bottles a day.
Local potteries also flourished in the mid-19th century, again making use of raw materials (white clay and stone) being brought into Sunderland as ballast on ships. Sunderland pottery was exported across Europe, with Sunderland Lustreware proving particularly popular in the home market; however the industry sharply declined later in the century due to foreign competition, and the largest remaining manufacturer (Southwick Pottery) closed in 1897.
Victoria Hall Disaster
Victoria Hall was a large concert hall on Toward Road facing Mowbray Park. The hall was the scene of a tragedy on 16 June 1883 when 183 children died. During a variety show, children rushed towards a staircase for treats. At the bottom of the staircase, the door had been opened inward and bolted in such a way as to leave only a gap wide enough for one child to pass at a time. The children surged down the stairs and those at the front were trapped and crushed by the weight of the crowd behind them.
The asphyxiation of 183 children aged between three and 14 is the worst disaster of its kind in British history. The memorial, a grieving mother holding a dead child, is located in Mowbray Park inside a protective canopy. Newspaper reports triggered a mood of national outrage and an inquiry recommended that public venues be fitted with a minimum number of outward opening emergency exits, which led to the invention of 'push bar' emergency doors. This law remains in force. Victoria Hall remained in use until 1941 when it was destroyed by a German bomb.
Lyceum Theatre
The Lyceum was a public building on Lambton Street, opened August 1852, whose many rooms included a Mechanics' Institute and a hall 90 by 40 feet (27 m × 12 m) which Edward D. Davis converted into a theatre, opened September 1854, then was gutted by fire in December the following year. It was refurbished and reopened in September 1856 as the Royal Lyceum Theatre, and is notable as the venue of Henry Irving's first successes. The building was destroyed by fire in 1880 and demolished. The site was later developed for the Salvation Army.
20th and 21st centuries
The public transport network was enhanced in 1900 – 1919 with an electric tram system. The trams were gradually replaced by buses during the 1940s before being completely axed in 1954. In 1909 the Queen Alexandra Bridge was built, linking Deptford and Southwick.
The First World War led to a notable increase in shipbuilding but also resulted in the town being targeted by a Zeppelin raid in 1916. The Monkwearmouth area was struck on 1 April 1916 and 22 lives were lost. Many citizens also served in the armed forces during this period, over 25,000 men from a population of 151,000.
In the wake of the First World War, and on through the Great Depression of the 1930s, shipbuilding dramatically declined: the number of shipyards on the Wear went from fifteen in 1921 to six in 1937. The small yards of J. Blumer & Son (at North Dock) and the Sunderland Shipbuilding Co. Ltd. (at Hudson Dock) both closed in the 1920s, and other yards were closed down by National Shipbuilders Securities in the 1930s (including Osbourne, Graham & Co., way upriver at North Hylton, Robert Thompson & Sons at Southwick, and the 'overflow' yards operated by Swan, Hunter & Wigham Richardson and William Gray & Co.).
With the outbreak of World War II in 1939, Sunderland was a key target of the German Luftwaffe, who claimed the lives of 267 people in the town, caused damage or destruction to 4,000 homes, and devastated local industry. After the war, more housing was developed. The town's boundaries expanded in 1967 when neighbouring Ryhope, Silksworth, Herrington, South Hylton and Castletown were incorporated into Sunderland.
During the second half of the 20th century shipbuilding and coalmining declined; shipbuilding ended in 1988 and coalmining in 1993. At the worst of the unemployment crisis up to 20 per cent of the local workforce were unemployed in the mid-1980s.
As the former heavy industries declined, new industries were developed (including electronic, chemical, paper and motor manufacture) and the service sector expanded during the 1980s and 1990s. In 1986 Japanese car manufacturer Nissan opened its Nissan Motor Manufacturing UK factory in Washington, which has since become the UK's largest car factory.
From 1990, the banks of the Wear were regenerated with the creation of housing, retail parks and business centres on former shipbuilding sites. Alongside the creation of the National Glass Centre the University of Sunderland has built a new campus on the St Peter's site. The clearance of the Vaux Breweries site on the north west fringe of the city centre created a further opportunity for development in the city centre.
Sunderland received city status in 1992. Like many cities, Sunderland comprises a number of areas with their own distinct histories, Fulwell, Monkwearmouth, Roker, and Southwick on the northern side of the Wear, and Bishopwearmouth and Hendon to the south. On 24 March 2004, the city adopted Benedict Biscop as its patron saint.
The 20th century saw Sunderland A.F.C. established as the Wearside area's greatest claim to sporting fame. Founded in 1879 as Sunderland and District Teachers A.F.C. by schoolmaster James Allan, Sunderland joined The Football League for the 1890–91 season. By 1936 the club had been league champions on five occasions. They won their first FA Cup in 1937, but their only post-World War II major honour came in 1973 when they won a second FA Cup. They have had a checkered history and dropped into the old third division for a season and been relegated thrice from the Premier League, twice with the lowest points ever, earning the club a reputation as a yo-yo club. After 99 years at the historic Roker Park stadium, the club moved to the 42,000-seat Stadium of Light on the banks of the River Wear in 1997. At the time, it was the largest stadium built by an English football club since the 1920s, and has since been expanded to hold nearly 50,000 seated spectators.
In 2018 Sunderland was ranked as the best city to live and work in the UK by the finance firm OneFamily. In the same year, Sunderland was ranked as one of the top 10 safest cities in the UK.
Many fine old buildings remain despite the bombing that occurred during World War II. Religious buildings include Holy Trinity Church, built in 1719 for an independent Sunderland, St Michael's Church, built as Bishopwearmouth Parish Church and now known as Sunderland Minster and St Peter's Church, Monkwearmouth, part of which dates from AD 674, and was the original monastery. St Andrew's Church, Roker, known as the "Cathedral of the Arts and Crafts Movement", contains work by William Morris, Ernest Gimson and Eric Gill. St Mary's Catholic Church is the earliest surviving Gothic revival church in the city.
Sunderland Civic Centre was designed by Spence Bonnington & Collins and was officially opened by Princess Margaret, Countess of Snowdon in 1970. It closed in November 2021, following the opening of a new City Hall on the former Vaux Brewery redevelopment site.
Les Musiciens, vintage paper automation
Always looking for old templates for paper automata. I found this template on “Flickr”, posted by “patricia m”. I tried to build this model true to the original. Original from 1888, size: 49cm x 38,5cm. (19.3 in x 15.2 in) Printed on 4x A4 (equivalent to A2 format). The finished model has a size of about 21 x 23 cm (8,3 in x 9,0 in) . Unfortunately in the original only the trumpet is operated by a crank drive.
In order to allow a movement, also of the two other figures (violinist and 2nd trumpeter), I provided the axles with rope discs and connected them with rubber band.
One of a few new illustrations for the latest issue of Viewpoint magazine. This one is for an article about our dependency on technology as it increasingly weaves itself into our daily lives.
Over the weekend, Nick wired this box up to our door buzzer. I'll
finish my part of the software this week, then we'll have something
fun to talk about.
A screenshot from Automation of camper vans (RVs if you're from the States) I made using a mod body. I don't know what the two black lines are; they were flickering on the screen so I waited until they went away before taking the screenshot, but they mysteriously reappeared on the end result.
In BeamNG they had their steering inverted.
Vintage Paper automation. „Le Menuisier“ (The Carpenter )
This over 100-year-old model was made in France, Nancy, after 1919 - 1925. Size 29.5cm x 40.5cm (11.6 x 16.0 in²). Air drive. For the assembly, a second template was printed mirrored for the back.
How things really work in a modern chemistry lab
Project 365
286/365
2013/02/19
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Automatyzacja – znaczne ograniczenie lub zastąpienie (proces zastępowania) ludzkiej pracy fizycznej i umysłowej przez pracę maszyn działających na zasadzie samoregulacji i wykonujących określone czynności bez udziału człowieka (czyli samoczynnych). Również zastosowanie maszyn do pracy niemożliwej do wykonania w inny sposób. Automatyzacja jest kolejnym etapem po mechanizacji, gdzie bezpośrednia praca człowieka jest niezbędna przy wytworzeniu produktu finalnego.
Automatyzacja jest coraz szerzej stosowana w środowisku usługowym.
Etymologia terminu automatyzacja
Automatyzacja to polski odpowiednik angielskiego terminu automation. Słowo automation zostało po raz pierwszy użyte przez Dela Hardera w firmie Ford by opisać pewien rodzaj samoczynnej, masowej produkcji jaką tam prowadzono. Słowo było używane wewnątrz firmy w latach 40. i 50. XX wieku. W roku 1952 John Diebold, specjalista od technologii informatycznych napisał książkę zatytułowaną Automation. Publikacja ta była owocem jego prac na Harvard Business School a termin używany był w kontekście nie tylko maszyn produkcyjnych, ale i środków przetwarzania informacji (mimo że w tym czasie przemysł komputerowy był jeszcze w powijakach). Stąd tytułowe słowo automation przyjęło się wówczas w powszechnym użyciu.
W języku polskim automatyzacja bywa mylona z automatyką (ang. automatic control) – dyscypliną, która zajmuje się sterowaniem (w praktyce jest ono realizowane bez udziału lub z ograniczonym udziałem człowieka co rzeczywiście przyczynia się do automatyzacji procesów).
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