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The Brotherhood of Blackheads is an association of local unmarried merchants, ship owners, and foreigners that was active in Livonia (present-day Estonia and Latvia) from the mid-14th century till 1940 but still remains active in present day Hamburg.
The Brotherhood of Blackheads was founded as a military organization but the non-military aspects of the association gradually became more pronounced until the Brotherhood became a predominantly social organization after the end of the Great Northern War.
The brotherhood traces its origin to a group of foreign merchants who, according to the legend, had participated in the defense of Reval (present-day Tallinn in Estonia) during the St. George's Night Uprising between 1343 and 1345 when the indigenous population of Estonia unsuccessfully tried to exterminate all foreigners and eradicate Christianity from Estonia.
The earliest documented mention of the Brotherhood comes in an agreement with the Tallinn Dominican Monastery from 28 March 1400 that confirms the Blackheads' ownership of all the sacred church vessels that they had deposited in the St. Catherine's Church of the Dominicans. In the same agreement the Blackheads commit themselves to decorating and lighting the altar of St. Mary that the brotherhood had commissioned for the church, and the Dominicans in their turn undertake to hold services in front of this altar to bless the souls of the Blackheads.
On 12 September 1407, the Tallinn City Council ratified the statutes of the Brotherhood, also known as the Great Rights. The statutes of the Brotherhood in Riga date back to 1416.
According to the Great Rights in Tallinn, the Brotherhood of Blackheads committed itself to defending the city from any enemy invasion.
Among other duties, the Brotherhood provided the city with a cavalry detachment. The Blackhead cavalrymen patrolled the city wall and six of them made rounds inside the wall every evening after the city gates were locked at sunset.
In 1526 the Brotherhood presented the city council of Tallinn with 8 rock-hurling machines, 20 cannon-carriages, and 66 small-caliber guns. Money was donated for making cannons for Narva, and it was stipulated that the Blackheads' coat of arms be on all the guns.
During the 25-year-long Livonian War (1558-1583), members of the Brotherhood of Blackheads in Tallinn participated in many battles and successfully helped to defend the city against the Russians who unsuccessfully besieged Tallinn in 1570–1571 and again in 1577.
After the end of the Great Northern War of 1700-1721, Livonia became part of the Russian Empire.
The Hanseatic towns in Livonia lost much of the importance that they had enjoyed during the Middle Ages and the Brotherhood of Blackheads gradually transformed from a military society to a predominantly social organization. Although the chivalric code of honor the Brotherhood subscribed to and the rules governing close combat were mostly preserved, the military importance of Blackheads gradually diminished. However, in Tallinn the cavalry detachment with its own uniform survived until 1887.
In the 18th and 19th centuries, the local brotherhoods of Blackheads were important as social organizations that sponsored social events, such as parties and concerts, and collected objects of fine art.
In Tallinn and Riga, the houses of the Brotherhood, along with the medieval traditions still practiced in them, became important cultural and social centers for social elites.
In 1895, the Brotherhood of Blackheads in Tallinn was formally reconstituted into the Blackheads Club.
The brotherhoods in Tallinn and Riga carried on in independent Estonia and Latvia until the beginning of the Soviet occupation of the Baltic States in 1940, when the occupation authorities dissolved the Brotherhood.
Most of the members were able to flee to Germany, where they tried to continue their traditions. In 1961 the Brotherhood of Blackheads was officially registered in Hamburg, where it survives to this day.
Originally the membership of the Brotherhood of Blackheads in Tallinn included mostly merchants who were not yet eligible for the membership in the Great Guild: merchants who were legally not independent or who had no established business in Tallinn, local unmarried merchants, and foreign merchants.
The Brotherhood was renting the property at 24-26 Pikk Street, Tallinn, already in 1406. In 1531, the Blackheads acquired the building from the town councilor Johann Viant and his wife Kerstine Bretholt (Breitholtz) and rebuilt it in the Renaissance style of the period.
It remained in the possession of the Blackheads until the summer of 1940 when the Soviet Union occupied and annexed Estonia.
An equally magnificent House of Blackheads in Riga that had been sold to the Blackheads in 1713 was destroyed on 28 June 1941 when the German army conquered Riga, and the burnt out walls were demolished by the Soviets in 1948. The Blackheads' House in Riga was reconstructed between 1995 and 2000.
The coat of arms of the Brotherhood of Blackheads
The exact origin of the term blackhead is unknown. The patron saint of the Brotherhood of Blackheads is the black Egyptian Christian Saint Moritz whose head is also depicted on the Brotherhood's coat of arms.
Whether the patron saint was chosen because of the name, or whether the saint precedes the name remains unclear.
The origin and the dual nature of the Brotherhood of Blackheads as a military organization and a commercial association is unique in European history.
The military aspect of the Brotherhood can be attributed to its founding during the days of the last great anti-Christian revolt of the indigenous people of Northern Europe in the wake of the Northern Crusades. The commercial aspect of the Brotherhood reflects its origin in the early days of the Hanseatic League that marked the beginning of a new era, less military and more commerce oriented, in Northern Europe.
Some traditions of the Blackheads survive in the customs of Baltic-German Corps and Estonian and Latvian student corporations.
As a rule, most corporations accept new members twice a year. Ceremonial consumption of alcohol, elaborate drinking vessels, personal code of honor, and strict rules governing the relationship between members, including institutionalized fines and punishments, resemble in many respects the traditions of the Blackheads.
The military aspect of the Brotherhood survives in the ceremonial use of specialized swords. In the regional structure of the Estonian Defence League, corporation members in the former Blackhead centers Tallinn and Tartu maintain their own military malevkonds (major subunits of malevs) whose main duty is the defence of their respective cities against possible enemy invasion.
A westbound NS stack train is beginning its descent of the Allegheny Mountains just east of Cresson, PA. The differing grade profile of the two main routes is clearly evident here.
The tomb of Abraham Lincoln in Springfield's Oak Ridge Cemetery was constructed between 1868 and 1874 as the final resting place of the 16th president. It became one of the first sites designated a National Historic Landmark in 1960 and listed on the National Register of Historic Places in 1966.
Sarah Hitt
Senior
Mechanical Engineering
Member of Arts Club
I started acrylic pouring over the quarantine summer. It was a great project to keep me busy! I also love animals and try to incorporate them into my art whenever possible.
Featured artwork: Beginning
Acrylic
Online Shop: www.etsy.com/shop/SarahHittArt?ref=seller-platform-mcnav
This artist is open to commissions: schitt@ncsu.edu
Was walking along side the beach when I found this father teaching he's son how to surf, it was actually so nice to see that the little dude had the passion like he's dad and really epic to follow I'm the foot steps of he's dad.
Various Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Thank you to DMAC Studios and their models! More of his work can be found here: www.facebook.com/DMacStudios/
Big thank you(!) to the incredible artists on Deviantart for their PNG designs:
Model: ak_47_tribal_1a_by_jagged_eye-d4tc5e9 :iconjagged_eye:
Main background: venomxbaby.deviantart.com/art/tropical-night-planet-stock... :iconvenomxbaby"
Texture Background: free_texture_stock___lights_04_by_hexe78-d85yo4y.psd :iconhexe78:
Wolf: laying_white_wolf_png_by_raynexstorm-d77qyll :iconraynexstorm:
Corner tree: tree_corner_1_png_by_gd08-d2ys9n4 :icongd08:
Corner tree: tree_corner_by_gd08-d2ys73u :icongd08:
Campfire: campfire_3_by_jean52-d9edin2 :iconjean52:
Straw house: medieval_house_2_by_jean52-d92vx60
Sorry I am a bit late for Happy Easter Wishes, but I hope you had a nice one!
Easter represents to me very much the Birth of the NEW, whatever that may mean for for each of you. Enjoy the new energies, and may they be pure and strong.
I had just turned around to catch this shot at the beginning of today's walk ... I generally start my walk following the track that runs around Old Prestwick Golf Course!
Flickr Lounge ~ Weekly Theme (Week 33) This Is My Day ...
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
234/365 - "Humble Beginnings"
The Minolta 7S on the left was my dad's camera during his time in Vietnam. Nowadays, he can't even get a point-n-shoot to focus, but somehow, he was a great photographer back in the army. After posting the photograph of him and Grandpa last night, it seemed fitting to share what was originally his camera.
In high school he let me use it for my photography class (by "use" it I mean "inherit" it and it's now mine!). The light meter in it never worked, but I was able to use the suggested settings on the rolls of Kodak to get me through my first rolls of film! I still have that camera and may need to try shooting some film with it again.
In my junior year of college I took my first photography/film developing class. My photography professor said that Dad's camera with the broken light meter wouldn't work for me, so he helped me get a short term student loan for the camera on the right, my Richo KR-5 Super II. I used that camera for almost 10 years before it was replaced by a Sony Cyber Shoot which, a few years later was replaced with the Nikon digital that I've been using for the past 4 years. I loved my Richo. That's the camera that really gave me the photography bug. I always thought it was cool because it was the same camera that my uncle Glenn had.
I took this photo with my Nikon D90 at work one night with our professional lighting set-up and backdrop that I do shoot products shots on all the time. Somehow or another, these two cameras led to the career I have today.
Every journey has it's beginning. Dad's Minolta started mine. How cool is it that this camera from the late 70's spawned all the images you see here from me today. :)
(originally shot 05/01/13)
Soft Machine / At The Beginning
Trackliste:
- That's How Much I Need You Now - 2:25
- Save Yourself - 2:42
- I Should've Known - 7:30
- Jet-Propelled Photograph - 2:30
- When I Don't Want You - 2:47
- Memories - 2:59
- You Don't Remember - 3:44
- She's Gone - 2:10
- I'd Rather Be With You - 3:40
Kevin Ayers - Bass, Vocals
Robert Wyatt - Drums, Vocals
Daevid Allen - Lead Guitar
Mike Ratledge - Piano, Organ
Demo sessions recorded in London, April 1967
sleeve design: Joe Staut
Label: Bellaphon Records / 1974
ex Vinyl-Collection MTP
Not really had the health, weather or inclination to take any photos over the past week despite being at home. So this is yet another work of art created with Apophysis.
Please View Large
Lowenstark’s Log: … uhh… dates are sort of funny. I think I’ll start like this:
Lowenstark’s Log: Day 299.
Man, I suppose I should start with the beginning. Hell, I should’ve probably been taking these journal notes this entire time. Now that I can’t do it in my head anymore, it never really occurred to me…but I think it’s time I start chronicling again. I mean, my story should be put to paper, in case I die or something. Again.
It’s been almost three hundred days since I was brought to the Dreamscape. At first I thought I was dead. Hell, whoever brought me here even had the sense of humor to leave me atop a big tuft of clouds – as if I were in some comic version of Heaven itself. It took days for me to realize that I could actually fly, and even that came about when I decided I’d rather take a swift fall than die of dehydration.
As I wondered from curious wonderland to curious wonderland, marveling at the sheer oddity, surreality, and absurdity (when it’s not simply horror) of the Dreamscape, I eventually realized I wasn’t actually in Heaven. The first clue was a slobbering Fade that nearly killed me, and managed to break a few bones before found myself nearly crapping my pants and teleporting to some new location. .. and, thankfully, found another Dreamwalker.
An explorer, that Dreamwalker didn’t have time or inclination to deal with me. Begrudgingly he patched me up, gave me the Cliffnotes version of my situation, and wandered off a few hours later.
If you’re a Dreamwalker, you can imagine this Deer-In-Headlights moment. That ‘oh shit’ moment when you realize you’re A: Dead, and B: Way in over your head. Only in my case, I had the added dread of finding out I'm not even real... we'll get back to that point later on.
Now, If you’re a Dreamwalker and you’ve never heard of this… sorry to give you that same ‘oh shit’ moment. You're probably lost and confused, and reading this journal is going to only make you question your situation even further... that's a good thing! Here, I'll do you a solid, and give you a bit of the skinny. Here's the cliff notes version I received when -I- got here:
A: You died in your sleep, in the middle of some lucid dream. When you died, the dream was so lucid, it continued to hold your entire consciousness here – in the Dreamscape, the world of Dreams.
B: There are others like you. Untold numbers who travel around, form bands, occasionally towns, and just try to survive. Aside from those of us TRAPPED here in the Dreamscape, there are other Dreamers, who are people who are STILL sleeping and dreaming. Fair warning: Never, ever, ever try to forcibly make these people aware that you don’t belong in their dreams. That ALWAYS ends poorly- for YOU.
C: There are other things you can encounter besides 'Walkers and Dreamers. Among the worst possible encounter for you are the Fades. These are beings of pure emotion, also brought into this realm by lucid dreams. You have your most common, Nightmare Fades, which are horrors of all varieties – extremely powerful, no matter how good you are at manipulating the Dreamscape – but there other, more subtle kinds as well. Don’t go thinking you can take one all by your lonesome – I don’t care what kind of Stephen Seagal badass you were in real life, or how naturally gifted you are at bending the Dreamscape to your will. Oh, and chances are that lucid dream that brought you here also created a fade - a personal nightmare torn straight from your dreams. So, uh, watch your back.
D: There are parts of the Dreamscape that are intensely ORDERLY. Most of this world (which is the collective human subconscious) is complete chaos, warping and changing, inconsistent for much longer than a few hours. Some parts last longer, and still,there are places called Dreamplanes that are WAY more consistent. The Dreamers here aren’t just having a simple little dream, they’re having a massive, collective dream. They are dreaming that they are other people, like fictional characters, and these characters all live out full lives in the Dreamplane. Everything humans fantasize about likely has a dreamplane. You’ll find Wild West Dreamplanes, Science Fiction Dreamplanes, Cyberpunk Dreamplanes.. a lot of variety, and each one like it’s own little pocket-world. Just, again, don’t go trying to convince the dreamers there about who you really are… the psychic backlash from the paradox could literally tear your mind apart. Just, act cool, act like you belong there. Don't worry, you'll find that to protect the fragile reality there, the Dreamscape will give you some backup to help make a cover identity... you'll see what I mean. It's actually pretty neat.
E: It’s possible, though extraordinarily rare and unusual for one of these Dreamers in those aforementioned Dreamplanes to be “forced” awake. To be made to realize the world that they are in is not only a dream, but part of the larger Dreamscape. When that happens, the shock is so great that the Dreamer dies… and leaves behind only the fictional version of themselves. All memories of whoever they were in the “real world” are gone.
Option E up there? That’s me. I’m a fictional character who was being dreamt up by someone who I will never know. Someone who died so that I can exist, thanks to some OTHER unknown figure who went through a LOT of trouble to “Birth” me into the Dreamscape. See, to ME it’s the year 2077, and I was part of dystopian future fighting a corrupt government, looking for freedom and trying to build a better tomorrow. In truth, in reality, it’s somewhere around the year 2010. And I’m a fictional character that’s part of a fictional environment.
Most Dreamwalkers aren’t. They’re part of that world, the 2010 mundane world. The real world. Not me, though. I’m… well, the ‘real’ me, is dead. I’m a figment of his imagination… but I still FEEL real. Hell, I have 37 years of memories of a world that exists, for real, in the Dreamscape. It may not be what’s considered the “real world” – but to me, it was utterly real. Full of life, love, challenge and triumph, and even though I can never go back to that particular Dreamplane again, it was my home for my entire life. Unfortunately, I am dead there, so it's the one place in the Dreamscape I can never return to.
In fact, I’ve considered the possibility that maybe these lives those people lived, in their ‘real world’, in the early 21st century, my ALSO be a dream. Who’s to say? Why is their world more real than my world? Besides general consensus that is.
Anyway, that’s the beginning of my story. Well… it’s the beginning of my NEW story. My old story had a beginning, middle, and end… and it was a fantastic story, full of people I will miss (painfully so.) Since I was awakened, and went through this process of discovery my entire last few hundred days has been dedicated to understanding about as much about this place and it’s Dreamwalkers as I can. I'm training to manipulate the Dreamscape, trying to understand where I am and what our limits are... but more Dreamwalkers crop up every day. So many people are new, frightened and in need of aid… and naturally, it’s my job to find and help them.
What can I say… I’m not good, I’m just dreamt that way.
The waterfall in Lasalle Canon is beginning to freeze. If the temperatures stay cold enough, the ice at the bottom and top with join to form an icefall. The sandstone is eroded quite a ways back underneath this waterfall. It always gives me the creeps when I walk under here. This will almost certainly collapse one day, and I don't want to be under it when it does!
The Bhimbetka rock shelters are an archaeological site of the Paleolithic, exhibiting the earliest traces of human life on the Indian subcontinent, and thus the beginning of the South Asian Stone Age. It is located in the Raisen District in the Indian state of Madhya Pradesh, near Abdullaganj town and inside the Ratapani Wildlife Sanctuary. At least some of the shelters were inhabited by Homo erectus more than 100,000 years ago. Some of the Stone Age rock paintings found among the Bhimbetka rock shelters are approximately 30,000 years old. The caves also deliver early evidence of dance. They were declared a World Heritage Site in 2003.
The name Bhimbetka (भीमबैठका) is associated with Bhima, a hero-deity of the epic Mahabharata. The word Bhimbetka is said to derive from Bhimbaithka, meaning "sitting place of Bhima".
LOCATION
The Rock Shelters of Bhimbetaka (or Bhim Baithaka) lies 9 km from obedullaganj city in the Raisen District of Madhya Pradesh,and 45 kilometers south of Bhopal at the southern edge of the Vindhya hills. South of these rock shelters are successive ranges of the Satpura hills.
The entire area is covered by thick vegetation, has abundant natural resources in its perennial water supplies, natural shelters, rich forest flora and fauna, and bears a striking resemblance to similar rock art sites such as Kakadu National Park in Australia, the cave paintings of the Bushmen in Kalahari Desert and the Upper Paleolithic Lascaux cave paintings in France.
DISCOVERY
As reported in the UNESCO citation declaring the Rock Shelters of Bhimbetka a World Heritage Site, Bhimbetka was first mentioned in Indian archeological records in 1888 as a Buddhist site, based on information gathered from local adivasis. Later V. S. Wakankar, while traveling by train to Bhopal, saw some rock formations similar to those he had seen in Spain and France. He visited the area with a team of archaeologists and discovered several prehistoric rock shelters in 1957.
Since then more than 750 such shelters have been identified, of which 243 are in the Bhimbetka group and 178 in the Lakha Juar group. Archeological studies revealed a continuous sequence of Stone Age cultures (from the late Acheulian to the late Mesolithic), as well as the world’s oldest stone walls and floors.
Barkheda has been identified as the source of the raw materials used in some of the monoliths discovered at Bhimbetka.
ROCK ART AND PAINTINGS
The rock shelters and caves of Bhimbetka have a large number of paintings. The oldest paintings are considered to be 30,000 years old, but some of the geometric figures date to as recently as the medieval period. The colors used are vegetable colors which have endured through time because the drawings were generally made deep inside a niche or on inner walls. The drawings and paintings can be classified under seven different periods.
Period I - (Upper Paleolithic): These are linear representations, in green and dark red, of huge figures of animals such as bison, tigers and rhinoceroses.
Period II - (Mesolithic): Comparatively small in size the stylised figures in this group show linear decorations on the body. In addition to animals there are human figures and hunting scenes, giving a clear picture of the weapons they used: barbed spears, pointed sticks, bows and arrows. The depiction of communal dances, birds, musical instruments, mothers and children, pregnant women, men carrying dead animals, drinking and burials appear in rhythmic movement.
Period III - (Chalcolithic) Similar to the paintings of the Chalcolithic, these drawings reveal that during this period the cave dwellers of this area were in contact with the agricultural communities of the Malwa plains, exchanging goods with them.
Period IV & V - (Early historic): The figures of this group have a schematic and decorative style and are painted mainly in red, white and yellow. The association is of riders, depiction of religious symbols, tunic-like dresses and the existence of scripts of different periods. The religious beliefs are represented by figures of yakshas, tree gods and magical sky chariots.
Period VI & VII - (Medieval) : These paintings are geometric linear and more schematic, but they show degeneration and crudeness in their artistic style. The colors used by the cave dwellers were prepared by combining manganese, hematite and wooden coal.
One rock, popularly referred to as “Zoo Rock”, depicts elephants, sambar, bison and deer. Paintings on another rock show a peacock, a snake, a deer and the sun. On another rock, two elephants with tusks are painted. Hunting scenes with hunters carrying bows, arrows, swords and shields also find their place in the community of these pre-historic paintings. In one of the caves, a bison is shown in pursuit of a hunter while his two companions appear to stand helplessly nearby; in another, some horsemen are seen, along with archers.
In one painting, a large wild boar is seen (see thumbnail picture). It is not known whether such large boars existed that time (note that, according to the skeletons found, those humans were about 7 feet tall) or the humans drew it with enlarged scale.
WIKIPEDIA
History of organ Redoute
General Information
History as a multipurpose facility Reduty Publicly construction begins in 1901, when the city of Bratislava as one of the cultural centers of Austria-Hungarian Empire Teresian bought the former granary, built on the banks of the Danube in 1773 on the orders of Maria Theresa. After the demolition of the city granary built in the years 1913-1919 multifunctional building in neo-baroque style with elements of Rococo and Art Nouveau. The name itself implies Redoute object of linguistic terms for interpretation in French ("Redoute"- Ball, prom or dance hall, etc.) Public multipurpose building. This was originally the seat of several associations, trade as well as cultural organizations and served on a large scale public capital Bratislava on musical events, dance parties and performances and to provide similar services.
The seat of the Slovak Philharmonic has become Redoute up to the beginning of the 50th years for the period of post-war Czechoslovak Republic. The focus of its activities, the provision of general and particular cultural services to the public concentrating varied Concerts. This house featured artists (male) and artists (female) from Slovakia but also many foreign guests from all over the world. At that time (in 1956) was to Slovak Philharmonic concert hall organ built and placed under the window in the facade of the building facing the street Medená. It is about a 85 štvormanuálový registering body Rieger-Kloss. Organ is electro pneumatic traktúry and one sliding game table. The factory was built by the authority located in Krnov in the current Czech Republic. Its current condition is marked by particular problems of quality materials available in the post-war market of Czechoslovak Republic in the mid 50s. Apart from the fact that the architecture (design) of this monumental musical instrument became not only a symbol of the object Reduty but also the Slovak Philharmonic.
After the Velvet Revolution, the object Reduty gradually transformed to fit the multifunctional cultural facility with a rich European musical tradition and at the same time it was decided the reconstruction and completion of the building
Current Status
History of organ Redoute
+ Organ in the Concert Hall of the Slovak Philharmonic was built in 1956 by Ing. Veverku. vyrobený, made by organ Krnov, Czechoslovakia;
+ Characteristics of organ type - Rieger-Kloss Organ Opus 3210; technical design consists of the following parts - 4 manuals and pedal, 84 registers sounding, about 6,000 pipes, electrical traktúra, bowling tube, and moving game table;
+ Appearance organ (ie prospectus, ie its front part is called fancy face organ) adapt its constructor works of art of the concert hall SF)
+ A successful (visual) art solution fits into the interior of the concert hall and accepting some creative themes linked to the overall interior decoration,
+ Adaptation of the technical solutions addressing the visual, the sound of the organ was very inconvenient, many pipes are deaf - and has broken above a disproportionately large - length, which is due to the technical structures and organs due to inadequate acoustics solution;
2 Current status and review of existing organs
· Current state of the organ is difficult for artistic production incapacitated, is permanently faulty and can not be efficiently modified or rebuilt,
· Internal structure has only a minimal amount of material and the addition of a smaller pipework is not applicable construction elsewhere,
· The historically - art website does not constitute the organ of no value,
· Its hilarious appearance - art rendition of the facade of the organ (its face), may be the subject of consideration in the design of new creative solutions to future body;
3 Description of the disposition of the existing organ in the Concert Hall of the Slovak Philharmonic
Switch (Absteller):
1 switch drum
2 The switch 16 ' Man. + 32 ' Ped.
3 Reed switch registers of
I. manual:
4 Principal 16'
5 Burdon 16'
6 Principal 8'
7 Hollow Flute 8'
8 Viola da gamba 8'
9 Octave 4'
10th Recorder Flute 4'
11th Supe roktáva 2'
12th Transverse flute 2'
13th Whistle sparkling 4x 4'
14th Mixture 8 -10X 1 1/3 - 4'
15th Trumpet 16'
16th Trumpet 8'
17th I / II
18th III / II
19th IV / II
II. Manual:
20th Kvintadéna 8'
21, Cover 8'
22, Principal 4'
23 Roh night 4'
24th Glucanase 2 2/ 3'
25th Octave 2'
26th 2 flute flat'
27th Superkvinta 1 1/ 3'
28th Superoktáva 1'
29th Mixture 6 - 8x 1' - 4'
30th Crooked horn 8'
31 String shelf 4'
32 III / I
33 IV / I
34th I tremolo
Switch (absteller):
35th Hand switch registers
36th Switch connectors from the Register
37th Sub switch (couplings)
38th Super switch (couplings)
39th Mixtur switch
40th Pedal switch
III. manual:
41 Pommer indoor 16'
42 Principal 8'
43 Dome Flute 8'
44th Salicional 8'
45th Cover Musick 8'
46th Vox coelestis 1 - 2x 8 + 8'
47th Octave 4'
48th Flute pipe 4'
49th Violina 4'
50th Fifth covered 2 2/3'
51 Kvintadecima 2'
52 2 flute forest'
53 Seskvialtera - 2 2/3' + 1 3/ 5'
54th Mixture 7 - 9x 1 1/3 - 4'
55th Dulcimer - 3 8/9 ' - 1 1/ 3'
56th Field Trumpet 8'
57th Vox humana 8'
58th Klarina 4'
59th Harp 8'
60th IV / III
61st III tremolo
IV. manual:
62 Roh Kamzíková 8'
63 Roh night indoor 8'
64th Fluttering flute 1 - 2 8' + 8'
65th Principal 4'
66th Flute radius 4'
67th Fifth pipe 2 2/3'
68th Octave 2'
69 Tonus Fabri 2 + 1'
70th Terciová Flute 1 3/ 5'
71 Flute Kvintová 1 1/3'
72 Swiss fife 1'
73 Mixture Nono's 8/9' - 2 2/5'
74th AKUTOL 4x 1/2' - 4'
75th Cimbál terciový 3x 1 /4 - 2'
76th Rankettregál 16'
77th Dulcian 8'
78th Shawm 4'
79th Bells big G - works
Pedal
80th Plinth 32'
81st Double Bass 32' + 16'
82 Principálbas 16'
83 Apertabas 16'
84th Subbas 16'
85th Burdonbas 16'
86th Fifth Big 10 2/3'
87th Octavebas 8'
88th Hollow Flute 8'
89th Kvintadéna pipe 8'
90th Cover 8'
91st Naza covered 5 1/3'
92nd Chorálbas 4'
93rd Pointed Flute 4'
94th Cink 2 + 1'
95th Pipe effervescent 4x 5 1/ 3'
96th Mixture 7-9 x 2-4'
97th Kontrapozón 32'
98th Dulcian 16'
99th Požoň 16'
100th Trumpet 8'
101 Klarina 4'
102 I / P
103 II / P
104th III / P
105th IV / P
4 available combinations
Rollers
III. and IV. in impoundments
Electric traktúry
Man C - c5 (manuals)
Before C - g1 (pedal)
4 Inadequate design parameters of the existing functional organ from a technical point of view
· Occupy too much space - for the system design,
· Pipe section realized the sound of difficult material (zinc) and hardly tunable material (lack priezvučnosť prospectus is inappropriate resonance, etc.),
· Many pipes are broken, have only a decorative function,
· Poor artistic appearance of the body organ pipes - inappropriate striebrenkový coat;
· Middle balkónovitý projection bodies (positive) is inappropriate, interferes with musical productions, in the future it will be necessary to imbed into the sides of the level, but to lose plasticity breakdown; prospectus shift back by 1 m;
Project 52- 2014 Ellenburg Photography's Photo Challenge
I let Lili choose which pic I should submit this week. She chose this one of her beginning her painting project! Another week without natural light (something I need to practice) but I just love taking pictures of my kids hands...
last weekend we walked up to the redcliff radar station,
It was (from left to right) becky, derrick, tyler, kristen, and I. We went up there to take some photos and bum around.
this shot was taken towards the beginning of the walk up past the gates at the bottom of the hill