View allAll Photos Tagged certainty
God is good. Today I can say these words with great certainty. For the Lord has blessed me today with a miracle. Earlier this evening I was worried about my financial state. I said a prayer expressing my confidence in God. A few minutes later two unexpected visitors came to me bearing incredible gifts. A student of mine, who is also a good friend decided to be kind to me today. He sent items of provision for the next three months. Sacks of food items arrived one after the other. All in my family were utterly stunned by this act of kindness. I said it was the work of the Lord.
God is kind. He is waiting to be even kinder. I should believe in Him. I will believe in Him. Earlier this month I received an award for my poetry from a country so far away from mine. In my own country I am hardly known. Yet someone so far away connected with me and expressed her deep appreciation for my work. When I received her award I received the visibly expressed love of God. That was the moment when God began to speak to me in clear tones of gracious love. May God continue to shower His grace and love on me. I have been waiting for Him so long.
- Samuel Godfrey George
The only certainty we have is death. Uncertainty on the other hand makes life possible, not knowing what's coming next.
The earliest documentary evidence for local markets relates to those at Preston, Kersal, Warton and Clitheroe, and is dated around 1190 AD. Wigan market can be dated with certainty to 1245. In each of these cases it is highly likely that the surviving documents served merely to confirm traditions and practices that originated at much earlier dates.*
Ashton in Makerfield market can boast nothing like the antiquity of its Lancashire neighbours at Wigan, Preston and elsewhere. It originated in a procedure under the Public Health Act 1875 whereby a local board, a town council or improvement commissioners could, having obtained the necessary consents and agreements, provide a venue and “other conveniences” for the holding of a market. Certain provisions of the Markets and Fairs Clauses Act 1847 would then apply, although the consent of the Local Government Board would be needed for the levying of tolls etc. The process of establishing a market at Ashton was begun on 28 November 1877, when the Local Board's Sanitary & Highway Committee proposed that the necessary steps be taken “in order to obviate the nuisance caused by the obstruction of the streets on Saturday by the stalls which are placed there”. Despite this nuisance and the subsequent convening of a meeting of ratepayers as required by the 1875 Act, at which the necessary resolutions were carried, it was not until 12 October 1889 -more that a decade later- that the market was finally established.
*See, further, G H Tupling's “Markets and Fairs in Medieval Lancashire” in G Edwards (ed) “Historical Essays in Honour of James Tait”, Manchester UP 1933).
April 2005
Dating from around 1420 a superb example of a single bay Wealden hall house and can be regarded as perhaps the best preserved of its type remaining in England.
The walls are timber framed under a thatched roof topped by a chimney to one side. Either side of the centre section at the front, the upper floor is jettied and has timber spandrels in front of the recess. The brick infilling here is from the Tudor period when alterations were made to the hall. The remaining infillings are surfaced with white painted plaster with flint being used elsewhere to give an extremely decorative and pleasing appearance. The inside is full of original features with fine timbering and craftsmanship. There are three reception rooms and the kitchen downstairs and three bedrooms and the bathroom upstairs with both floors being arranged with the rooms in line and linked by passages and doors.
I can say with great certainty it has very low ceilings inside.
The image was made in the spring when the blossom was out in flower, but I prefer the b&w.
Having made a quick search on the internet I've found out that the house is now let as a holiday home, as can be seen here.
Comments and critiques most welcome.
As always best viewed large on black.
A 16x20 C-Print from "Certainty Principle" an exhibition of photography, video, and installation by Michael David Murphy. Sept. 23rd, 2010 through Oct. 30th, 2010 at Spruill Gallery in Atlanta.
A reconciliation agreement between the Province and the Snuneymuxw First Nation will bring economic benefits to the Snuneymuxw, while increasing certainty for business in the Nanaimo region.
Learn more: www.newsroom.gov.bc.ca/2013/03/benefits-for-snuneymuxw-fi...
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Scientific Name: Suillus subaureus
Common Name: Unknown
Certainty: positive (notes)
Location: Southern Appalachians; Pisgah NF; Spivey Gap
Date: 20060711
Yup, I have proper literature at hand now. Clearly keys to S. subaureus, not S. hirtellus. The other similar one is S. americanus but it has wider tubes (1-2mm wide -vs- 0.5mm wide as here), and more slender stipe (rarely to 10mm wide -vs- 15mm wide as here). Thanks, "the weed one". Feel free to check my others, too!
This is one of the finest saws I have ever come across.
I cannot confirm the maker with absolute certainty, but the saw features a Warranted Superior medallion with the Disston keystone.
What is certain is that this saw was sold by the Supplee Hardware Co in Philadelphia. According to the etch this saw is "The Genuine and Original no 255" The etch is somewhat typical to American made Warranted saws. It features an eagle surrounded by two star spangled banners as well as the additional words:
"ROYAL STEEL
SPRING STEEL ~ WARRANTED
Patent Temper ~ Temper Ground"
The saw also has a secondary etch with the text:
"This saw was made specially for use of the most skilled Artisan. For quality style and finish it cannot be surpassed.
William H. Supplee"
I spotted this saw in an auction in the US and the handle looked so promising that I felt I had to place a bid. Luckily my small bid was enough.
But back to the origin of this saw. I'm quite sure this is a Disston made saw. But I have not been able to find a matching model in their catalogs or on disstonianinstitute.
The only official Disston model that comes close as far as the handle design is concerned, is the no 99, as designed from 1906 onwards:
www.disstonianinstitute.com/99page.html
I'm well aware of the fact that the no 99 was a straight back and mine is a skew back. So I'm not saying this is a no 99 in disguise. But the handles of the both saws are close matches.
Some of the Disston catalogs does include a short section of "Special saws etched to order". I don't have a complete collection of Disston catalogs, so I can't say if this saw is listed in one or several of them.
But I did spot an advertisement made b the Supple Hardware Co, where a saw very close to mine was listed:
www.ebay.co.uk/itm/1902-AD-Disston-Acme-Hand-Panel-Rip-Sa...
The only difference seems to be that the saw in the ad doesn't include wheat carving around the nuts.
As far as age goes, I firmly believe this saw was made rather early in the 20th century. Supplee Hardware merged with one Mr Biddle and became Supplee-Billdle Hardware Co in 1914. Although my saw doesn't feature the hardware company name, but only the signature of William H. Supplee, I think the saw could well have been made before 1914. The saw nuts have the narrow screw slots associated with earlier raised nuts. And the handle design is clearly more elegant and well rounded, something which also indicates an earlier design.
All in all this saw is a wonderful example of fine saw making. The spring steel is very hard and well tensioned. The handle has one of the best palm grips I have come across and after some jointing, reshaping and sharpening the saw has been at work for a couple of days now. It performs beautifully.
Tennis Pros Michal and Eric show the proper way to gain certainty by gradually warming up your groundstrokes. Confidence can be increased through success. Your initial objective is see consistency and feel the body warming up before executing your full effort on a stroke. Having a feeling of this confidence can enable your mind to gradually be engaged in a hitting session where your brain and body are focused and relaxed.
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To have any certainty of seeing the Komodo Dragons, you needed to have something to attract them. Sadly and to my eternal shame, this role fell to the poor goat seen here, which we bought from the village. (No, I don't still have the receipt for tax purposes).
We carted it on the boat from the village to this rather idyllic bay, and once ashore, the two local men withdrew quietly to one side and dispatched it. Then followed a trek of about half an hour into the island, to search for a likely place to wait and hopefully see the dragons.
Ektachrome scan, Nikon F. Komodo Island, Indonesia, 1978.
© David Hill.
A 16x20 C-Print from "Certainty Principle" an exhibition of photography, video, and installation by Michael David Murphy. Sept. 23rd, 2010 through Oct. 30th, 2010 at Spruill Gallery in Atlanta.
Know thou of a certainty that Love is the secret of God's holy Dispensation, the manifestation of the All-Merciful, the foundation of spiritual outpourings. Love is heaven's kindly light, the Holy Spirit's eternal breath that vivifieth the human soul. Love is the cause of God's revelation unto man, the vital bond inherent, in accordance with the divine creation, in the realities of things. Love is the one means that ensureth true felicity both in this world, and the next. Love is the light that guideth in darkness, the living link that uniteth God with man, that assureth the progress of every illumined soul. Love is the most great law that ruleth this mighty and heavenly cycle, the unique power that bindeth together the diverse elements of this material world, the supreme magnetic force that directeth the movements of the spheres in the celestial realms. Love revealeth with unfailing and limitless power the mysteries latent in the universe. Love is the spirit of life unto the adorned body of mankind, the establisher of true civilization in this mortal world..........
Abdu'l-Baha
It cannot be declared with certainty that the two distinctive pillars in Ilkeston Victoria Park were once a part of the long ago demolished manor house of Ilkeston's Old Park : but it has been suggested .
" Mondrian...? The constructivists...? They had certainties. They wanted a stable basis to work on, but I'm afraid that was enormous arrogance on their part. Nothing is stable and no certainties are possible"
[ Charles Juliet - Conversations with Samuel Beckett and Bram van Velde]
This is one of the finest saws I have ever come across.
I cannot confirm the maker with absolute certainty, but the saw features a Warranted Superior medallion with the Disston keystone.
What is certain is that this saw was sold by the Supplee Hardware Co in Philadelphia. According to the etch this saw is "The Genuine and Original no 255" The etch is somewhat typical to American made Warranted saws. It features an eagle surrounded by two star spangled banners as well as the additional words:
"ROYAL STEEL
SPRING STEEL ~ WARRANTED
Patent Temper ~ Temper Ground"
The saw also has a secondary etch with the text:
"This saw was made specially for use of the most skilled Artisan. For quality style and finish it cannot be surpassed.
William H. Supplee"
I spotted this saw in an auction in the US and the handle looked so promising that I felt I had to place a bid. Luckily my small bid was enough.
But back to the origin of this saw. I'm quite sure this is a Disston made saw. But I have not been able to find a matching model in their catalogs or on disstonianinstitute.
The only official Disston model that comes close as far as the handle design is concerned, is the no 99, as designed from 1906 onwards:
www.disstonianinstitute.com/99page.html
I'm well aware of the fact that the no 99 was a straight back and mine is a skew back. So I'm not saying this is a no 99 in disguise. But the handles of the both saws are close matches.
Some of the Disston catalogs does include a short section of "Special saws etched to order". I don't have a complete collection of Disston catalogs, so I can't say if this saw is listed in one or several of them.
But I did spot an advertisement made b the Supple Hardware Co, where a saw very close to mine was listed:
www.ebay.co.uk/itm/1902-AD-Disston-Acme-Hand-Panel-Rip-Sa...
The only difference seems to be that the saw in the ad doesn't include wheat carving around the nuts.
As far as age goes, I firmly believe this saw was made rather early in the 20th century. Supplee Hardware merged with one Mr Biddle and became Supplee-Billdle Hardware Co in 1914. Although my saw doesn't feature the hardware company name, but only the signature of William H. Supplee, I think the saw could well have been made before 1914. The saw nuts have the narrow screw slots associated with earlier raised nuts. And the handle design is clearly more elegant and well rounded, something which also indicates an earlier design.
All in all this saw is a wonderful example of fine saw making. The spring steel is very hard and well tensioned. The handle has one of the best palm grips I have come across and after some jointing, reshaping and sharpening the saw has been at work for a couple of days now. It performs beautifully.
The Hornberg shooting is the event that has spawned the phrase "that goes like the Hornberg shooting". The phrase is used when an affair is announced with great fanfare but then nothing emerges from it at all and it ends without result.
Origin
Historians disagree as to whether the following events and explanations really underlie the known phrase. As with any etymological meaning that cannot be clarified with any certainty there are with the Hornberg shooting numerous legends about this phrase, the two below ones in relevant works being the most widespread. However, neither of these stories is historically accurate.
Duke visit
Cannon on the cobbles as an advertisement for the theater
In Hornberg anno 1564 Duke Christoph of Württemberg had announced himself. This one should be received with gun salute and full honors. When everything was ready, approached from afar a large cloud of dust. All cheered and the cannons roared like there was no tomorrow. But from the cloud of dust emerged only as a stagecoach. The same was happening then as a grocer carts and still much later a herd of cattle came towards the town. The lookout had given each time a false alarm and all the powder was fired when the Duke finally came. Some Hornberger tried to imitate the cannon by bellowing. Some reports even put the Duke visit on the end of the 17th century.
This version is regularly performed in summer on the outdoor stage in Hornberg as a folk theater.
Attack on Hornberg
According to the second version of the explanation the proverb refers to an event from 1519 when the city was attacked by the neighboring Villinger (Villingen, a city in the Black Forest not that far away). The Hornberger are said to have fired their ammunition in a short time so that the attacker just had to wait for the end of the cannonade to conquer Hornberg subsequently. This explanation goes back to the pastor Konrad Kaltenbach who describes it in paragraphs 3, 4 and 5 of Heimatklänge (Echoes of home) from ancient and modern times, a supplement to the Freiburger daily mail from 1915 and relies on historical sources (Villinger Chronicle 1495-1533 ).
Other versions
Early 18th century should have been in a free shooting in Hornberg such inconsistencies regarding the operation that gradually all the shooters left the festival and the planned shooting finally was dropped.
Use in the literature
Already Friedrich Schiller writes in his book The Robber (first edition 1781) in the first act: There it ended like the shooting at Hornberg and they had to withdraw with disappointed faces. Thomas Mann formulated in his narrative Man and His Dog (1918): "However, it may also be that the whole thing, after all the events and fussinesses, ends as the Hornberg shooting and comes to nothing." Hannah Arendt used the phrase in her book power and violence (1970): "However, this situation does not have to lead to revolution. It can first end with counter-revolution, the establishment of dictatorships and it can secondly end as the Hornberg shooting, it needs nothing to be happening".
Das Hornberger Schießen ist das Ereignis, das die Redewendung „das geht aus wie das Hornberger Schießen“ hervorgebracht hat. Die Wendung wird gebraucht, wenn eine Angelegenheit mit großem Getöse angekündigt wird, aber dann nichts dabei herauskommt und sie ohne Ergebnis endet.
Entstehung
Die Historiker sind sich nicht darüber einig, ob die folgenden Begebenheiten und Erklärungsversuche wirklich der bekannten Redewendung zugrunde liegen. Wie bei jeder nicht mit Sicherheit zu klärenden etymologischen Bedeutung ranken sich auch beim Hornberger Schießen zahlreiche Legenden um diese Redewendung, wobei die beiden nachstehenden in einschlägigen Werken als die am weitesten verbreiteten gelten. Allerdings ist keine der beiden Erzählungen historisch verbürgt.
Herzogsbesuch
Kanone auf den Pflastersteinen als Werbung für das Theater
In Hornberg hatte sich anno 1564 der Herzog Christoph von Württemberg angesagt. Dieser sollte mit Salutschüssen und allen Ehren empfangen werden. Als alles bereit war, näherte sich aus der Ferne eine große Staubwolke. Alle jubelten und die Kanonen donnerten, was das Zeug hielt. Doch die Staubwolke entpuppte sich nur als eine Postkutsche. Selbiges geschah dann, als ein Krämerkarren und noch einiges später eine Rinderherde auf die Stadt zukam. Der Ausguck hatte jedes Mal falschen Alarm gegeben, und alles Pulver war verschossen, als der Herzog endlich kam. Einige Hornberger versuchten, durch Brüllen den Kanonendonner nachzuahmen. Manche Berichte legen den Herzogsbesuch auch auf das Ende des 17. Jahrhunderts.
Diese Version wird regelmäßig im Sommer auf der Freilichtbühne in Hornberg als volkstümliches Theaterstück aufgeführt.
Angriff auf Hornberg
Der zweiten Version der Erklärung nach soll sich das Sprichwort auf ein Ereignis aus dem Jahr 1519 beziehen, als die Stadt von den benachbarten Villingern angegriffen wurde. Die Hornberger sollen in kurzer Zeit ihre Munition verschossen haben, so dass die Angreifer nur das Ende der Kanonade abwarten mussten, um anschließend Hornberg erobern zu können. Diese Erklärung geht zurück auf den Pfarrer Konrad Kaltenbach, der sie in den Nummern 3, 4 und 5 der Heimatklänge aus alter und neuer Zeit, einer Beilage zur Freiburger Tagespost aus dem Jahr 1915 beschreibt und sich auf historische Quellen beruft (Villinger Chronik 1495–1533).
Andere Versionen
Anfang des 18. Jahrhunderts soll es bei einem Freischießen in Hornberg derartige Unstimmigkeiten über den Ablauf gegeben haben, dass nach und nach alle Schützen das Fest verließen und das geplante Schießen schließlich entfiel.
Verwendung in der Literatur
Bereits Friedrich Schiller schreibt in seinem Werk Die Räuber (Erstausgabe 1781) im ersten Akt: Da ging's aus wie’s Schießen zu Hornberg und mussten abziehen mit langer Nase. Thomas Mann formuliert in seiner Erzählung Herr und Hund (1918): „Es kann aber auch sein, daß das Ganze, nach allen Veranstaltungen und Umständlichkeiten, ausgeht wie das Hornberger Schießen und still im Sande verläuft.“ Hannah Arendt verwendet die Redensart in ihrem Buch Macht und Gewalt (1970): „Dennoch braucht diese Situation nicht zur Revolution zu führen. Sie kann erstens mit Konterrevolution, der Errichtung von Diktaturen enden und sie kann zweitens ausgehen wie das Hornberger Schießen: es braucht überhaupt nichts zu geschehen.“
Laura Nenzi (2008, p189) uses the above image by way of conclusion to her excellent book on travel in Japan. She writes "But dreams and aspirations (collective and individual alike) are slippery subjects that more often than not hide between lines or amid icons alread dense with meaning. Difficult to verbalize, difficult to grasp, they are impossible tricky for the historian to recover with any sense of certainty. Leave it then to Isoda Koryuusai (1735-1790) to come to the rescue of the text-bound historian with a mesmerizing image that, in the limited space of one woodblock print (19.1cm x 25.4com), concisely summarizes what countless travelers (as well as the historian in question) have spilled rivers of ink attempting to articulate (Figure 14). Dreaming of Walking near Fuji (1770-1773) captures and freezes in time the hopes and desires of two characters from the floating world...What the dream of movement meant to these two is clear: liberation from the everyday. Out of the house, away from all that is predictable and commonplace, they have finally achieved that state of complete disengagement that is the prerequisite for re-creation.
As the juxtaposition of movement and immobility in this image suggests, motion is, in a sense, the antithesis of order: it displaces what ought to stay put; it frees what ought to be contained." (p 187-188. Image on page 189, emphasis mine.)
Bearing in mind her subject matter - Japanese travellers who go to see sights where there is nothing to see - this is a fabulous choice of image to close with. Prof Nenzi is on the money, but I wish she had spilt a little more ink, at least in the interrogative. Do "collective" dreams exist? Can we share our dreams like these dreamers, in some way, in any way? Why are these Japanese dreamers dreaming autoscopically (Masuda,Gonzalez, Kwan, Nisbett, 2008; Cohen and Gunz, 2002) each seeing the image of themselves in their own dream - the dream is doubly double? From whose perspective is the dream seen? Perhaps the most important question for a theory of travel is, have the dreamers seen mount Fuji? And the million dollar question, bearing in mind the genre of the artwork, when they wake up will the erstwhile dreamers then share the same picture of the floating world.?
To be honest I can't answer these questions for myself let alone the Japanese. But at least, I think that there is considerable cultural difference at least in degree, and that these differences help explain cultural differences in travel behaviour.
The position of these (as Nenzi notes) sexually ambiguous lovers, reminds me of the cover of "The Postcard." (Derrida, 1987) which I consider to have been self, or intra-psychologically addressed. It is also reminiscent of the many pictures of the floating world that Kitayama (2005) uses to illustrate the, he argues, psychologically important trope of "looking together." Furthermore, if the Japanese are capable of autoscopy even when awake ( as my research, Heine, et al., 2008, shows), the picture may be illustrative not only of Japanese travel behavior, but also of the Japanese self".
The Japanese are always dreaming that someone else is looking with them Kitayama (2005) and that what they see is in the world.
Image credits: Isoda Koryuusai, Dreaming of Walking near Fuji, 1770-1773. Woodblock print, ink and color on paper, 19.1 b 25.4cm. M. Sackler Gallery, Smithsonian Institution, Washington, DC (The Anne van Biema Collection, S2004.3.23)
Bibliography Created by Zotero
Cohen, D., & Gunz, A. (2002). As seen by the other...: perspectives on the self in the memories and emotional perceptions of Easterners and Westerners. Psychological Science, 13(1), 55–59. Retrieved from web.missouri.edu/~ajgbp7/personal/Cohen_Gunz_2002.pdf
Derrida, J. (1987). The Post Card: From Socrates to Freud and Beyond. (A. Bass, Trans.) (First ed.). University Of Chicago Press.
Heine, S. J., Takemoto, T., Moskalenko, S., Lasaleta, J., & Henrich, J. (2008). Mirrors in the head: Cultural variation in objective self-awareness. Personality and Social Psychology Bulletin, 34(7), 879–887.
Kitayama, O. 北山修. (2005). 共視論. 講談社.
Masuda, T., Gonzalez, R., Kwan, L., & Nisbett, R. E. (2008). Culture and aesthetic preference: comparing the attention to context of East Asians and Americans. Personality and Social Psychology Bulletin, 34(9), 1260–1275.
Metzinger, T. (2009). The Ego Tunnel: The Science of the Mind and the Myth of the Self (1st ed.). Basic Books. (I have not read this but it sounded like Nishida and uses the word "autoscopy" so it is on my reading list)
Nenzi, L. N. D. (2008). Excursions in identity: travel and the intersection of place, gender, and status in Edo Japan. University of Hawaii Press.
"For my part I know nothing with any certainty, but the sight of the stars makes me dream."
= Vincent van Gogh =
PS: This is an open note book and a lil necklase star in the middle . Done by Merging two shots together! btw this is my first ever good macro! for me at least :)
Relegation certainties Denaby United (red strip) and Denaby Main rise to the challenge during a Premier Division derby in the Pete's Patisserie Sheffield County Senior League. United won 5-2 at Balby Academy of Sport. The hosts' third league victory of the season kept them a place above bottom team Main, who had substitute sent off in the 88th minute for a headbutt.
Match statistics:
Admission: free. Programme: £1 (28 pages). Attendance: 74. Scoring sequence: 1-0 (10mins); 2-0 (14mins); 3-0 (25mins); 4-0 (49mins); 4-1 (70mins); 4-2 (85mins); 90+3 (5-2).
"Science has proof without any certainty. Creationists have certainty without any proof."
-- Ashley Montague
Journal challenge at HummiesWorld
Hi there Little One, its Yiayia
I know you’re not even thought of yet but hopefully one day we will get to meet each other and I know with absolute certainty that when that time arrives you will become the most precious gift I could ever imagine. From the moment you take your first breath and open your tiny eyes you will steal my heart and I promise to nurture, care for and shower you with all the love and affection you deserve.
You are probably wondering who I am so I’d better introduce myself properly before we go any further. I am your Moms Mother and I am hoping you will call me Yiayia, which is the Greek word for Grandmother. Let me explain….. Grandpa and I retired in 2006 and came to live in Crete where we built our own house. I tried to learn Greek but it is a difficult language and I only speak a few sentences. When I heard the children shouting out for their Yiayia’s I thought it sounded like a nice easy word to learn and if I was lucky enough to become one myself then that’s what I would like to be called.
When you arrive you will only be on loan to me occasionally but I will have lots of stories to tell you about our family, especially ones about Grandpa and me and how much we love each other, your Mom and now you too. We will learn new things together, play games, bake cakes, laugh and have fun and although I know the returns policy is ‘as new’ I hope I will encourage you to meet a challenge head on and to never give up the chance of a new experience.
There might be quiet times when we will sit and talk, sharing secrets that I promise never to tell, reading books together, slipping into a world of make believe but trust in me because I will always be here for you
I don’t know what the future has in store for you, I hope that I will be part of it in some small way and that its as perfect as can be but you must learn independence, follow your own dreams and make each moment count
All my love until we meet