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took the boys on a little holiday, we stayed in a pet friendly holiday house with loads of beaches within minutes in any direction!
it wasn't as weather-friendly as I'd hoped, the rain has been following me, but it was at least warmer :-)
Saxon is a strong swimmer, here in the midst of some small swirling waves.
;-) Texto en castellano mas abajo ;-)
Excuse me the many mistakes that sure I have committed in the translation, I hope that it is understood regardless!
Development of the trilogy blog – pride – persons.
The second part of this trilogy that I dedicate to explain, and to explain myself, because I use the captions (feet) of my photos as if they were my personal blog. This time I will comment because I feel proud, basing on my concept of person that I exposed in the first photo of the trilogy.
I am a heterosexual crossdresser girl. It is a fact … but, what does it means? If I you tell the truth, I don´t know it with certainty. It seems as if every crossdresser girl had her own definition … probably because there are many branches inside the crossdress … but this it is another theme. I suppose that to the others happen like to me, I am ashamed instinctively of this facet of my life, it is something cultural, the image of the "transvestite" is at least ridiculous, laughable, even I fall down in it without thinking it. It is like if it was so unnatural, so out of place, so incomprehensibly … why a sane man, that considers himself as man, would try to pass off as a woman?... And this it is the nice image, also there is the vicious image, in which you are a disgusting pervert which who know how many more barbarities will do. It is not to feel very proud … not. But the reason wins to the instinct, I am a person, and as such I have reasoning and feelings, and they say to me that this it is not the reality, it is not my reality. Maybe it is a parafilia, as some people say, or maybe it is the aptitude to overcome the assigned role and experiencing positive sensations that are denied to us without reason. I do not have answers, disease or quality, I don´t know, but I know that I do not have motives for which to be ashamed. I am a person, with multiple characteristics, but none of them defines me lonely and to be a crossdresser girl is not the exception, only it is a small part of me. Globally I am not discontented with me, do not understand me badly, I should improve very much as person, but if tomorrow I would die and I would have to give account for my life and for what I am, I believe that I would go out in peace, and it is a motive of pride. The global pride like person, to feel yourself well with total honesty is what really matters. And the pride for the different characteristics that I have? It is a different pride, with different purposes, bad some as arrogance, and other more positive as the reaffirmation. The pride that I feel for be a crossdress girl is of this type. If the things were as they should be, surely I would not feel proud for it, would be another characteristic more as to have small foot or the dark eyes. But unfortunately the things are not like that, and some groups have had to use pride as method of defense, as reaffirmation against discriminations and injustices.The example most clear is the homosexuality. I am hetero and it allows me to see the situation from out, impartially, and I believe that they do very well in feeling proud, because understandable better or worse, what harm do it?, why to make to feel badly to a person for a quality that goes implicit in that person?... My crossdress does not harm anybody either and though I can give up practising it, it is not anything that could make disappear of me, as I cannot change my liking or my way of being, it is a part of my intimate self. So, if I see it good for the others, why not for me?
I look around and see so many motives for what the people should be ashamed, so many attitudes, so many actions that cause so much harm … And later I look at me, being ashamed instinctively for wearing a dress or for feeling feminine … Not … I refuse to accept it, it is possible that in the moment I could not avoid the instinct, but I refuse to accept consciously a shame that does not correspond to me, because of it I am proud! This one is not an allegation in order that we all go out to the light and feel us superproud (though it would be very well also I understand that it is very difficult and dangerous), it is for feeling us well with ourselves and we do not torture psychologically ourselves without motive. The crossdress makes me feel good, and when I dress and look at the mirror, there goes out for me a smile of satisfaction and pride. I am proud!!
Desarrollo de la trilogía blog-orgullo-personas.
Segunda parte de esta trilogía que dedico a explicar, y a explicarme a mi misma de paso, el porque utilizo los pies de fotos como si fueran mi blog personal. Esta vez os comentaré porqué me siento orgullosa, basándome en mi concepto de persona que expuse en la primera foto de la trilogía.
Soy una chica crossdresser heterosexual. Es un hecho… pero, ¿que significa eso? Si os digo la verdad, ni yo misma lo se con seguridad. Parece como si cada chica cd tuviera su propia definición… quizás porque hay muchísimas ramas dentro del crossdress… pero ese es otro tema. Supongo que a las demás os pasará como a mí, me avergüenzo instintivamente de esta faceta de mi vida, es algo cultural, la imagen del “travesti” es como mínimo ridícula, risible, yo misma caigo en eso sin pensarlo. Es como si fuera tan antinatural, tan fuera de lugar, tan incomprensible… ¿por que un hombre cuerdo, que se considera hombre, intentaría pasar por mujer?... Y esa es la imagen amable, también está la imagen viciosa, en la que eres un pervertido asqueroso que ha saber que barbaridades mas hará. No es para sentirse muy orgullosa… no. Pero la razón vence al instinto, soy una persona, y como tal tengo razonamiento y sentimientos, y ellos me dicen que esa no es la realidad, no es mi realidad. Quizás se trate de una parafilia como dicen algunos, o quizás sea la capacidad de superar el rol asignado y experimentar sensaciones positivas que nos son negadas sin razón. No tengo respuestas, enfermedad o cualidad, no lo se, lo que si se es que no tengo motivos por los que avergonzarme. Soy una persona, con múltiples características, pero ninguna de ellas me define por si sola y ser una chica cross no es la excepción, solo es una pequeña parte de mi. Globalmente no estoy descontenta de mi misma, no me entendáis mal, debería de mejorar muchísimo como persona, pero si mañana muriera y tuviera que rendir cuentas sobre mi vida y lo que soy, creo que saldría en paz, y eso es motivo de orgullo. El orgullo global como persona, el sentirse bien con una misma de forma totalmente sincera es lo que realmente importa. ¿Y el orgullo por las diferentes características que tengo? Ese es un orgullo distinto, con distintas finalidades, algunas malas como la soberbia, y otras mas positivas como la reafirmación. El orgullo que siento por ser una chica crossdress es de este tipo. Si las cosas fueran como deberían de ser, seguramente no me sentiría orgullosa por ello, sería otra característica mas como el tener los pies pequeños o los ojos negros. Pero desgraciadamente las cosas no son así, y algunos colectivos han tenido que tirar de orgullo como método de defensa, como reafirmación ante discriminaciones e injusticias. El ejemplo mas claro de esto es la homosexualidad. Yo soy hetero y eso me permite ver la situación desde fuera, imparcialmente, y creo que hacen muy bien en sentirse orgullosos, porque se entienda mejor o peor, ¿que mal hacen a nadie?, ¿por que hacer sentir mal a una persona por una cualidad que va implícita en ella?... Mi crossdress tampoco hace mal a nadie y aunque puedo renunciar a practicarlo, no es algo que pueda hacer desaparecer de mí, al igual que no puedo cambiar mis gustos o mi forma de ser, es parte de mi yo íntimo. Así que si lo veo bien para los demás, ¿por que no para mí?
Miro alrededor y veo tantos motivos por lo que la gente debería avergonzarse, tantas actitudes, tantas acciones que hacen tanto mal… Y después me miro a mí, avergonzándome instintivamente por ponerme un vestido o por sentirme femenina… No… no lo acepto, puede que en el momento no pueda evitar el instinto, pero me niego a aceptar conscientemente una vergüenza que no me corresponde, ¡por eso estoy orgullosa! Este no es un alegato para que salgamos todas a la luz y nos sintamos superorgullosas (aunque eso estaría muy bien también entiendo que es muy difícil y peligroso), sino para que nos sintamos bien con nosotras mismas y no nos martiricemos psicológicamente sin motivo. El crossdress me hace sentir bien, y cuando me visto y me miro al espejo, me sale una sonrisa de satisfacción y orgullo. ¡¡Estoy orgullosa!!
PS: Si quieres ver un video con este look (If you want see a video with this look):
www.youtube.com/watch?v=9GHQJ03rBJg
Si quieres ver una versión reducida en Flickrs (If you want see a small version in Flickrs):
www.flickr.com/photos/61410455@N08/6319457850/in/photostream
The central criminal courts, Old Bailey, London. Seen after heavy Spring rain.
The court originated as the sessions house of the Lord Mayor and Sheriffs of the City of London and of Middlesex. The original medieval court was first mentioned in 1585; it was next to the older Newgate gaol, and seems to have grown out of the endowment to improve the gaol and rooms for the Sheriffs, made possible by a gift from Richard Whittington. It was destroyed in the Great Fire of London in 1666 and rebuilt in 1674, with the court open to the weather to prevent the spread of disease.
Plaque commemorating Bushel's Case of 1670
In 1734 it was refronted, enclosing the court and reducing the influence of spectators: this led to outbreaks of typhus, notably in 1750 when 60 people died, including the Lord Mayor and two judges. It was rebuilt again in 1774 and a second courtroom was added in 1824. Over 100,000 criminal trials were carried out at the Old Bailey between 1674 and 1834
In 1834, it was renamed as the Central Criminal Court and its jurisdiction extended beyond that of London and Middlesex to the whole of the English jurisdiction for trials of major cases. Her Majesty's Courts and Tribunals Service manages the courts and administers the trials but the building itself is owned by the City of London Corporation, which finances the building, the running of it, the staff and the maintenance out of their own resources.
The court was originally intended as the site where only criminals accused of crimes committed in the City and Middlesex were tried. However, in 1856, there was public revulsion at the accusations against the doctor William Palmer that he was a poisoner and murderer. This led to fears that he could not receive a fair trial in his native Staffordshire. The Central Criminal Court Act 1856 was passed to enable his trial to be held at the Old Bailey.
In the 19th century, the Old Bailey was a small court adjacent to Newgate gaol. Hangings were a public spectacle in the street outside until May 1868. The condemned would be led along Dead Man's Walk between the prison and the court, and many were buried in the walk itself. Large, riotous crowds would gather and pelt the condemned with rotten fruit and vegetables and stones. In 1807, 28 people were crushed to death after a pie-seller's stall overturned. A secret tunnel was subsequently created between the prison and St Sepulchre's church opposite, to allow the chaplain to minister to the condemned man without having to force his way through the crowds.
The present Old Bailey building dates from 1902 but it was officially opened on 27 February 1907. It was designed by E. W. Mountford and built on the site of the infamous Newgate gaol, which was demolished to allow the court buildings to be constructed. Above the main entrance is inscribed the admonition: "Defend the Children of the Poor & Punish the Wrongdoer". King Edward VII opened the courthouse.
Lady Justice statue on the top of the court building
On the dome above the court stands a bronze statue of Lady Justice, executed by the British sculptor F. W. Pomeroy. She holds a sword in her right hand and the scales of justice in her left. The statue is popularly supposed to show blind Justice, however, the figure is not blindfolded: the courthouse brochures explain that this is because Lady Justice was originally not blindfolded, and because her “maidenly form” is supposed to guarantee her impartiality which renders the blindfold redundant.
During the Blitz of World War II, the Old Bailey was bombed and severely damaged, but subsequent reconstruction work restored most of it in the early 1950s. In 1952, the restored interior of the Grand Hall of the Central Criminal Court was once again open. The interior of the Great Hall (underneath the dome) is decorated with paintings commemorating the Blitz, as well as quasi-historical scenes of St Paul's Cathedral with nobles outside. Running around the entire hall are a series of axioms, some of biblical reference. They read:
"The law of the wise is a fountain of life"
"The welfare of the people is supreme"
"Right lives by law and law subsists by power"
"Poise the cause in justice's equal scales"
"Moses gave unto the people the laws of God"
"London shall have all its ancient rights"
The Great Hall (and the floor beneath it) is also decorated with many busts and statues, chiefly of British monarchs, but also of legal figures, and those who achieved renown by campaigning for improvement in prison conditions in the eighteenth and nineteenth centuries. This part of the building also houses the shorthand-writers' offices.
The lower level also hosts a minor exhibition on the history of the Old Bailey and Newgate featuring historical prison artefacts.
In 1973, the Belfast Brigade of the Provisional IRA exploded a car bomb in the street outside the courts, killing one and injuring 200 people. A shard of glass is preserved as a reminder, embedded in the wall at the top of the main stairs.
South Block extension
Between 1968 and 1972, a new South Block, designed by the architects Donald McMorran and George Whitby, was built to accommodate more modern courts. There are presently 18 courts in use. Court 19 is now used variously as a press overflow facility, as a registration room for first-day jurors or as a holding area for serving jurors.
The original ceremonial gates to the 1907 part of the building are only used by the Lord Mayor and visiting royalty. The general entrance to the building is a few yards down the road in the South Block and is often featured as a backdrop in television news reports. There is also a separate rear entrance, not open to the public, which permits more discreet access. In Warwick Square, on the western side of the complex, is the "Lord Mayor's Entrance".
A remnant of the city wall is preserved in the basement beneath the cells.
Our burning bush got too large for it's space and we had to get rid of it. Last summer we bought a tiny new one and planted it in a space where it can grow to its heart content. During the winter we discovered the rabbits were enjoying this tender new plant a little too much! Fortunately, it looks like it's going to be resilient and continue to grow despite the major crime committed by the neighborhood bunnies. :)
I fully committed for this one... walking through grass, thorns, etc. to find a hole to sit in to get low enough to make the shot work. All part of the fun.
Committed to Lomography Babylon using a Leica M3 and 50 mm Summicron dual-range lens. Developed using Ars-Imago R9 (rodinal) 1:99 in a semi-stand process for 80 minutes and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
This overdose prevention site off Crack Alley at 58 West Hastings St. is operated by the Vancouver Overdose Prevention Society, a not-for-profit organization that oversees hundreds of consumptions daily.
This mural was painted by residents of the Downtown Eastside, protesting the city’s 2016 plan for a housing development at 58 W Hastings which would include only a small fraction of social housing units. Months later, following extensive protest by the community and pressure from the Tent City occupying the vacant lot, Mayor Gregor Robertson committed to 100% social housing in the new development.
This mural represents the community’s call to action for ending homelessness. It reminds us that “homelessness is place-based marginalization . . . the visible reminder of what are otherwise hidden hierarchical social mechanisms of oppression”.
Homelessness is a social problem not an individual one and social workers must challenge the structural violence that strives to annihilate and exclude homeless people from occupying unconventional public space.
58 East Hasting site is one of 10 serving the Downtown Eastside (DTES). The sites offer a safe space for users to inject illicit drugs.
Staffed by volunteers trained in administering naloxone (Narcan) and CPR the site offers take-home fentanyl test strips so drug users can check their drugs for contamination at home.
The society also advocates for more sanctioned safe injection sites and a better government response to the overdose crisis.
The society began as a tent designated for safe consumption and overdose prevention, and was one of the initial community-led responses to the opioid crisis in British Columbia.
There is likely no area in Canada that has been studied and experimented upon more widely than Vancouver‟s notorious Downtown Eastside.
Long an area inhabited by low-income residents, it is now widely known as home to drug users and a myriad of drug dealers; as the community of last refuge for the mentally ill; as a ghetto filled with less than substandard housing; as a dangerous but accepting refuge for the homeless; as the nexus of crime for Greater Vancouver; as the danger-filled workplace for marginalized prostitutes; and as the destination of last resort for society‟s discards.
DTES is also a government initiated and sponsored ghetto due to the continuous addition of social housing that has built a community of customers with no cash, ripe for exploration by the drug and prostitute trade - IMO.
I thought this article by Vancouver Sun columnist Ian Mulgrew sums up the sad state of affairs in Canada's and in particular, Vancouver’s horrible human tragedy associated with illicit drug use. Mr. Mulgrew report extensively on the DTES.
Ian Mulgrew: Drug decriminalization a half-baked proposal
Opinion: ‘We have to find a different paradigm here,’ says Dr. Richard Mathias of the University of B.C. faculty of medicine. ‘The paradigm we have is killing Canadians’
Vancouver Sun 07 August, 2020
Four years after the authorities declared opioid deaths a public health emergency in B.C., the crisis rolls along like a Monty Python plague skit: Bring out your dead!
While there are daily briefings about COVID-19, which has killed fewer than 200 people in B.C., overdoses that have killed more than 700 so far this year receive little more than a monthly mortality update.
The number of drug deaths in each health authority is at or near the highest on record, without a cure, vaccine or solution in sight.
Instead of truly confronting the crisis, governments seem to be continually finding reasons to stall and shy away from discussing what is needed.
There is little evidence our political leaders want to talk about the issue beyond wringing their hands and mouthing anodyne concern.
The B.C. government won’t even provide the costs associated with the more than 30,000 people weaned off illegal drugs and now on Big Pharma substitutes.
“As this matter is before the courts (because users have launched a class-action lawsuit) it is not appropriate for us to share any information that is not publicly available at this time,” said Tracey Robertson, senior public affairs officer.
“This includes the costing associated with Methadone, Methadose and Metadol-D treatment. That said, we are able to provide you with the number of patients on Methadone (15,459), Methadose (12,026), and Metadol-D (3,589), as of April 2020.”
Believe it or not, it was 15 years ago that B.C.’s public health officers demanded the government decriminalize drug offences.
In a strident, progressive paper, they said it was time to address the harmful effects of the criminal prohibition against substances such as heroin and (at the time) marijuana.
They emphasized that anti-drug laws were based on racism and cultural biases, not evidence of harm, and the prohibition was causing far more damage to health and to society.
Titled “A Public Health Approach To Drug Control in Canada”, that 38-page paper recommended reform of federal and provincial laws and international agreements that deal with illegal drugs, development of national public health strategies to manage all psychoactive drugs, including alcohol and prescription drugs, improved monitoring, and more education.
Governments ignored it, and the echoes that followed over the years.
By 2019, even before her fame, Dr. Bonnie Henry was still trying to get that 2005 message heard.
In May, federal Minister of Health Patty Hajdu was asked to introduce a nationwide exemption for drug possession so no one would have to fear arrest and jail, especially during the COVID-19 pandemic.
Now, even the nation’s chiefs of police — who fought drug reform to protect their budgets — have joined the bandwagon, saying we should decriminalize drug possession.
The chiefs say it would improve the health and safety outcomes for drug users while reducing property crime, repeat offences and the demand for drugs in communities.
Really? After all these years of filling our jails with drug users while gangs prospered and proliferated, the cops have finally figured that out?
Heck, even Premier John Horgan, who recently sounded like he didn’t have a clue about addiction, is apparently all for decriminalization.
It’s about time.
Banning opiates, cocaine and other substances has proven to be as stupid as trying to ban alcohol.
Our drug laws are an abject failure. Still, decriminalization is not the answer to the opioid crisis any more than it was for marijuana.
It’s a halfway house of pain. Which is why we need a discussion.
Decriminalization allows the user to consume without risk of arrest, but does nothing to address the illegal black market, with its tainted products, violence and indiscriminate sales to kids.
Criminal drug laws protect traffickers from taxation, regulation and quality control. They maintain artificially high prices for drugs that cost pennies, and they produce an underground economy where disputes get settled not in court, but with guns.
There are better ways to control drug use.
It’s time to adopt a new legal regime to regulate drugs — their potency, retail sales, warning labels, age limits and other restrictions such as prescriptions.
Decriminalization won’t do that. Legalization will.
We need an integrated strategy of prevention, research, education and social programs to address poverty and the homelessness that has far too many people sleeping in parks.
We have to start discussing that aid package and dealing with addiction as seriously as we have attacked the coronavirus.
Legalization is not a panacea. It does not end drug use or violence.
But it will stop people with a medical issue being turned into criminals, and help us reduce the overdose deaths, the black market and the violence.
The 2005 anti-drug strategy called for a national dialogue, and Dr. Richard Mathias, of the University of B.C. faculty of medicine, emphasized: “We have to find a different paradigm here. The paradigm we have is killing Canadians.”
It didn’t happen.
Today, more than ever are dying. That 15 years have passed isn’t a joke, it’s an indictment.
imulgrew@postmedia.com
twitter.com/ianmulgrew
These birds are focused downward and have committed to the drop down to the pond in a steep descent... more a free fall drop (i.e., parachute) than a glide-in. This shot against a cloudy western sunset sky results in a silhouette view of the crane against the sky... but if you're familiar with these birds such shots offer no difficulty regarding their ID. The sky colors deepen so rapidly, and the bird groups continually arrive... you need to be constantly shooting to capture the ever changing spectacle! All of the subsequent shots this evening will be of silhouettes of the Cranes against the sky background.
IMG_8457; Sandhill Cranes
Committed to Ilford HP5+ using a Leica M3 and 50 mm Summilux ASPH lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to expired Kodak Ektachrome 100 using a Hasselblad 503CX and 100 mm f3.5 lens. Developed using an E6 kit from Ars-Imago and scanned using an Epson V850 using Silverfast.
Name: Reginald Stains alias Brown
Arrested for: not given
Arrested at: North Shields
Arrested on: 4 December 1915
Tyne and Wear Archives ref: DX1388-1-262-Reginald Stains AKA Brown
The Shields Daily News for 15 December 1915 reports:
“NORTH SHIELDS FALSE PRETENCES CASE. ACCUSED COMMITTED FOR TRIAL.
Reginald Ashley Staines (30), chief steward, of 23 Milton Terrace, was brought up on remand at North Shields today, charged with having obtained by false pretences on the 22nd Nov. from Joseph Randell, the sum of £15 and on the 23rd ult. a further sum of £7 from Joseph Randell and Ed. Perris and on the same date in a like manner, the sum of £5 from William Manson Bews, with intent to cheat and defraud. Mr Frankham of Newcastle defended.
Joseph Randell of 40 Drummond Terrace stated that in the early part of November last defendant came to his shop and made reference to some previous groceries and wanted to open an account. On the 22nd October he ordered goods to be sent on board his ship. On the 22nd Nov. he wanted to cash a cheque for £15. He said he had got married and wanted to go to Liverpool and witness gave him the £15. Next day he again came to the shop and asked witness to cash another cheque for £7 and he said he would send his account from Liverpool in settlement for some goods. Witness cashed the cheque. He presented the cheques on the 22nd and 23rd Nov. and they were returned on the 24th and 25th.
Mr Frankham: Defendant has had other dealings with you for groceries and provision? – Yes.
Mr Frankham: Have you cashed other cheques for him? One, for £10, which was honoured.
Mr Frankham: If he had asked for the loan of a certain sum, would you have give him it? – No.
Mr Frankham: He never attempted to conceal where he was going to? – No.
Mr Frankham: You made no effort to get in touch with him? – Yes. Mr Perris went to his mother’s and could not get his address.
William Manson Bews, a tailor residing in Linskill Terrace, said that on the 23rd October the defendant came to his shop and ordered a frock suit, a jack suit, a double-breasted suit and a cap. He was dressed in a naval uniform and said the things had to be delivered to the Northumberland Arms. On the 22nd November he again came to the shop and asked for his account. He told witness he was a little short of cash. Witness gave him £5 and the defendant made out a cheque for £22 12s, in payment of the clothes and the money. The cheque was presented at Farrow’s Bank, Newcastle on the 24th and returned on the 26th. Witness still had all the clothes with the exception of the uniform.
George Graham Campbell of Farrow’s Bank said that no the 24th November the cheque produced, for £15, was presented and returned, marked ‘N.S.’. On that date the defendant only had £3 19s 6d in the bank. On the 25th November cheques for £7 and £22 12s were presented but the defendant only had a balance of £1 19s 6d then.
Detective-Sergeant Radcliffe stated that from certain information received he went to Brighton, on the 3rd inst. and took the defendant into custody from the Brighton police. He was brought to North Shields and when questioned replied “The only thing I can say is, the cheque must not have been met”. When charged later he made no reply. The defendant pleaded not guilty.
Mr Frankham said the defendant had not the slightest intent to rob anybody of money. He had a banking account and being newly married and unwell, had gone away and given these cheques. He had about £16 on board the ship and the officers were owing him about £30. The defendant gave a cheque for £1 on the 13th November as a donation to the YMCA. He had not tried to cover up any tracks and the officers on board HMS Satellite knew where he was.
The defendant, in giving evidence on his own behalf, said he was chief steward on HM Yacht Medusa II. The ship came into port on the 19th November and he had leave granted because he had been ill and he was going to be married. After the marriage he went to Liverpool and was there two days and he then went to London and Brighton. He sent his medical certificate to HMS Satellite. When he got the money from Mr Randell and Mr Bews he understood he had sufficient money in the bank to meet the cheques. Money was owing to him on board the ship but he could not say how much. He had no intention of defrauding the people.
The defendant was committed for trial at the Quarter Sessions”.
On 6 January 1916 at Northumberland Quarter Sessions Reginald Staines was acquitted on a charge of obtaining money by false pretences from tradesmen at North Shields.
These images are taken from an album of photographs of prisoners brought before the North Shields Police Court between 1902 and 1916 (TWAM ref. DX1388/1). This set is our selection of the best mugshots taken during the First World War. They have been chosen because of the sharpness and general quality of the images. The album doesn’t record the details of each prisoner’s crimes, just their names and dates of arrest.
In order to discover the stories behind the mugshots, staff from Tyne & Wear Archives & Museums visited North Shields Local Studies Library where they carefully searched through microfilm copies of the ‘Shields Daily News’ looking for newspaper reports of the court cases. The newspaper reports have been transcribed and added below each mugshot.
Combining these two separate records gives us a fascinating insight into life on the Home Front during the First World War. These images document the lives of people of different ages and backgrounds, both civilians and soldiers. Our purpose here is not to judge them but simply to reflect the realities of their time.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
Committed to Ferrania P30 using a Leica M3 and 50 mm Summicron dual-range lens. Developed using Ars-Imago R9 (rodinal) 1:99 in a semi-stand process for 80 minutes and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
;-) Texto en castellano mas abajo ;-)
Excuse me the many mistakes that sure I have committed in the translation, I hope that it is understood regardless!
Conclusion of the trilogy blog – pride – persons.
Third and last part of this trilogy that I dedicate to explain, and to explain myself, because I use the captions (feet) of my photos as if they were my personal blog.
Always I have been a crossdresser girl, an innate tendency that thankfully did not produce many concern to me, it was there, but separated from my habitual life. It was dominating my fantasies and dreams, but was not leaving trace in the "real" life. It was appearing in the moment in which one was giving an opportunity and was vanishing without leaving trace, as if it had never happened at all. I was never planning anything, never thinking about it except in my dreams, only… was arising occasionally, sometimes with many frequency, sometimes with long periods of inactivity. Until that came one day in which I wanted more, I started having concern, started having desires and this part of me that was living in my dreams until that moment, started emerging in my reality. It was then when I started investigating the subject, in the easiest and more safe way … Internet. I was lucky, found at the first attempt the suitable sites, far from the topics and the habitual image of the "transvestite" with which I was not identifying. I found heterosexuals crossdressers who understood the subject of similar form to how I was feeling. It was good for me, I could see from out, in other persons a sort of reflection of what I was, or I wanted to be. In this reflection I saw persons and saw pride, not because they wanted to transmit it deliberately, surely they were not thinking it, but it was what I saw, and I liked it. Different and complete persons to who the crossdress factor, was not limiting them and was not determining for entire. Crossdress was alone one more characteristic and they were not left to trap for a hackneyed role that really was not reflecting their true personality, except when wanted to do it. A characteristic that they were taking of natural form, with precaution against the dangers, but with the implicit pride of the one that does not make nothing bad. Yes, I was lucky, if instead of find initially the correct persons I had found the typical image of the transvestism, surely I had stopped searching soon, convinced to be totally atypical. And surely not had changed anything, probably my path would be the same, but I had felt isolated and alone in this. Because of it I would like to contribute to put my two cents in to give the image that I received in that moment. Flickr is the temple of the image, is not the appropriate site to write, but it is, probably, one of the first sites that visits a beginner crossdress girl, or someone interested in it… almost certainly, end up passing through Youtube or Flickr, and if fortuitously find my gallery, I hope that they see a gallery that, though it belongs to a silly and ugly girl with a low level of crossdress, it transmit the values that I liked to find so much. This one is not the reason for which I upload photos and videoes, but it is the principal reason for which I try to transmit my personality in what I do, because of it, even though it is not the suitable place and be so ephemeral as to construct sandcastles, I write whatever I think in every moment, things related to the crossdress and things that not, silly things and deep issues, my tastes and interests, my culture … because it is the gallery of a person … that among other many things, is a crossdresser girl and is proud of it.
Conclusión de la trilogía blog-orgullo-personas.
Tercera y última parte de esta trilogía que dedico a explicar, y a explicarme a mi misma de paso, el porque utilizo los pies de fotos como si fueran mi blog personal.
Siempre he sido una chica crossdresser, una tendencia innata que por suerte no me produjo muchas inquietudes, estaba ahí, pero separada de mi vida habitual. Dominaba mis fantasías y sueños, pero no dejaba huella en la vida “real”. Se manifestaba en el momento en que se daba una oportunidad y se desvanecía sin dejar huella, como si nunca hubiera pasado nada. Nunca planeaba nada, nunca pensaba en ello excepto en mis sueños, solo… surgía de vez en cuando, a veces con mucha frecuencia, a veces con largos periodos de inactividad. Hasta que llegó un día en que quise más, empecé a tener inquietudes, empecé a tener deseos y esa parte de mí que vivía en mis sueños hasta ese momento, empezó a emerger en mi realidad. Fue entonces cuando empecé a investigar sobre el tema, de la manera más fácil y segura… Internet. Tuve mucha suerte, encontré a la primera los sitios adecuados, lejos de los tópicos y la imagen habitual del “travesti” con la que no me identificaba. Encontré a crossdressers heterosexuales que entendían el tema de forma parecida a la que yo sentía. Eso fue bueno para mi, pude ver desde fuera, en otras personas una especie de reflejo de lo que yo era, o quería ser. En ese reflejo veía personas y veía orgullo, no porque ellas lo quisieran transmitir expresamente así, seguramente ni lo pensaban, pero era lo que yo veía, y me gustaba. Personas distintas y completas a la que el factor crossdress, ni limitaba ni condicionaba por entero. El crossdress era solo una característica más y no se dejaban aprisionar por un rol tópico que realmente no reflejaba su verdadera personalidad, excepto en los momentos que sí que querían hacerlo. Una característica que llevaban de forma natural, con precaución ante los peligros, pero con el orgullo implícito del que no hace nada malo. Sí, tuve suerte, si en vez de dar al principio con las personas correctas, hubiera encontrado la imagen típica del travestismo, seguramente hubiera dejado pronto de buscar, convencida de ser una bicho raro totalmente atípica. Y no es que hubiera cambiado nada, probablemente mi trayectoria sería la misma, pero me hubiera sentido aislada y sola en esto. Por eso me gustaría aportar mi granito de arena en dar la imagen que yo recibí en su momento. Flickr es el templo de la imagen, no es el sitio adecuado para escribir, pero sí es, probablemente, unos de los primeros sitio que visite una chica crossdress principiante, o alguien interesado por el tema… terminas pasando por Youtube o por Flickr casi seguro, y si por casualidad dan con mi galería, espero que vean una galería que, aunque sea de una chica tonta y fea con un nivel bastante bajo de crossdress, transmita los valores que a mi tanto me gustó encontrar. Esta no es la razón por la que subo fotos y videos, pero sí es la razón principal por la que intento transmitir mi personalidad en lo que hago, por eso escribo, aunque no sea el lugar adecuado y sea tan efímero como construir castillos de arena, lo que se me ocurre en cada momento, cosas relacionadas con el crossdress y cosas que no, disparates y temas profundos, mis gustos y aficiones, mi cultura… porque es la galería de una persona… que entre otras muchas cosas, es una chica crossdresser y está orgullosa de ello.
PS. Si quieres ver videos con este look (If you want see a videos with this look) :
In Youtube (recomendado, se ve mejor / recommended, it looks better):
(black version) www.youtube.com/watch?v=o7ZCsLKcOQs
(blue version) www.youtube.com/watch?v=0lzDtTeAte4
In Flickr:
(black version) www.flickr.com/photos/61410455@N08/6884139200/in/photostream
(blue version) www.flickr.com/photos/61410455@N08/7177731536/in/photostream
PPS. También disponéis de una versión alternativa de esta foto con un estilo cómics en la siguiente dirección: / Also is available an alternate version of this photo, in a comics style, at the following link:
www.flickr.com/photos/61410455@N08/7308970340/in/photostream
Estoy muy orgullosa de esa versión, así como de la original que estáis viendo aquí. / I am very proud of that version and also the original photo you're seeing here ^_^
Ex Wigan Volvo in Drem .Stagecoach have committed 50 buses to the Open Championship at Muirfield. Large fields are used as car parks and Stagecoach provide the shuttle service to Muirfield . In addition Drem Station car park becomes a bus station for the week of the event. The operation seems to run very smoothly with all the Stagecoach staff in good spirits and even the odd barbecue set up for lunch ( a few of the drivers had singed eyebrows) Stagecoach seem to rise to these occasions and the old Olympians sounded great even the scruffy ones. Well done Stagecoach .
Committed to Ilford HP5+ using a Leica M6 and 50 mm Summicron v3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust removal and further contrast adjustment in Photoshop.
I'm not sure a bird can be anymore stretched out and committed to catching that fish than this massive eagle is. With the talons extended out front and the wings fully in the back position ready to apply as much force as possible to striking and clamping down on that fish, this eagle means business.
The character as well as the fortunes of the gospel is committed to the preacher. He makes or mars the message from God to man. The preacher is the golden pipe through which the divine oil flows. The pipe must not only be golden, but open and flawless, that the oil may have a full, unhindered, unwasted flow.
The man makes the preacher. God must make the man. The messenger is, if possible, more than the message. The preacher is more than the sermon. The preacher makes the sermon. As the life-giving milk from the mother’s bosom is but the mother’s life, so all the preacher says is tinctured, impregnated by what the preacher is. The treasure is in earthen vessels, and the taste of the vessel impregnates and may discolor. The man, the whole man, lies behind the sermon. Preaching is not the performance of an hour. It is the outflow of a life. It takes twenty years to make a sermon, because it takes twenty years to make the man. The true sermon is a thing of life. The sermon grows because the man grows. The sermon is forceful because the man is forceful. The sermon is holy because the man is holy. The sermon is full of the divine unction because the man is full of the divine unction.
Paul termed it “My gospel;” not that he had degraded it by his personal eccentricities or diverted it by selfish appropriation, but the gospel was put into the heart and lifeblood of the man Paul, as a personal trust to be executed by his Pauline traits, to be set aflame and empowered by the fiery energy of his fiery soul. Paul’s sermons—what were they? Where are they? Skeletons, scattered fragments, afloat on the sea of inspiration! But the man Paul, greater than his sermons, lives forever, in full form, feature and stature, with his molding hand on the Church. The preaching is but a voice. The voice in silence dies, the text is forgotten, the sermon fades from memory; the preacher lives.
The sermon cannot rise in its life-giving forces above the man. Dead men give out dead sermons, and dead sermons kill. Everything depends on the spiritual character of the preacher.
Edward M. Bounds, Power through Prayer (Oak Harbor, WA: Logos Research Systems, Inc., 1999).
These birds are focused downward and have committed to the drop down to the pond in a steep descent... more a free fall drop (i.e., parachute) than a glide-in. This shot against a cloudy western sunset sky results in a silhouette view of the crane against the sky... but if you're familiar with these birds such shots offer no difficulty regarding their ID. The sky colors deepen so rapidly, and the bird groups continually arrive... you need to be constantly shooting to capture the ever changing spectacle! All of the subsequent shots this evening will be of silhouettes of the Cranes against the sky background.
IMG_8110; Committed To Land
New (ab)normal. I'm committed to documenting the way our life looks during this outbreak. It's a way to process, and also none of us have every lived through anything like this. So here we are.
I blogged my first week's photographs if you're interested. Link: www.erinblinn.com/blog/2020/3/24/covid-19-week-1ish
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Credit to Cami for the shading technique.
Committed to Ilford HP5+ using a Leica M6 and 35 mm Summicron v3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Three orthodox Jews protesting against Israel's continued construction of illegal settlements and its atrocities committed against Palestinians. They had joined other demonstrators, who were angry at the failure of British authorities to arrest Ehud Barak, the butcher of Gaza, who was scheduled to give a talk at the Jewish Community Centre on Finchley Road to promote his memoirs.
[ Just in case anyone is interested I have attached a link to my research on British crimes against both Arabs and Jews in Palestine during the mandate period - 1919-1948. Use the following url and scroll down the list of countries alphabetically for Palestine - roguenation.org/choose-by-country/ ]
The police, instead of arresting Ehud Barak, had been instructed to protect him !
Barrack was Israel's Minister of Defence during Operation Cast Lead (also known as the Gaza massacre) in 2008-9, during which, according to United Nations figures, 1417 Palestinian were killed, the vast majority of them (926) civilians including 344 children, 250 police officers, civil defence works and ambulance drivers.
A passing out parade of police officers was deliberately targeted in the opening surprise aerial assault on 27 December. Civilian infrastructure was also targeted. Over half of Gaza's hospitals were seriously damaged or destroyed as well as tens of thousands of homes, half a million people were deprived of running water and a million people without any electric supply.
It is interesting to note that recently Ehud Barak has himself accused the current Israeli government of having been hijacked by extremists. Last year he wrote a piece for the New York Times observing that "our country now finds its very future, identity and security severely threatened by the whims and illusions of the ultranationalist government of Prime Minister Benjamin Netanyahu.”
The demonstrators were however unwilling to trust a suspected war criminal now portraying himself as a moderate and they were also angry that two weeks earlier, on Monday 14th May 2018, 61 unarmed Palestinians, including several children and a baby, were killed by the Israeli army, most of them shot dead by precision snipers during a demonstration close to Gaza's border fence, although some may also have been killed by the excessive us of CS gas.
Apart from the shocking number of fatalities, over 2,000 Palestinians were injured (including at least eight journalists), over one thousand of them by live ammunition. On the same day, the United States had moved its embassy from Tel Aviv to Jerusalem, a move which is a clear violation of international law. US president Donald Trump called it a "great day for Israel."
On the following day several hundred protesters had gathered in central London opposite Downing Street to protest against both the ongoing Israeli crimes against the population of Gaza and the West Bank and also British diplomatic and military support for Israel. Since 2014, the UK government has exported 445 million dollars worth of arms to the country, including components for fighter aircraft, helicopters and sniper rifles.
People in the demonstration on 15 May had expressed anger at the Israseli army's use of lethal force against unarmed protesters over the previous few weeks, which had resulted in the death of 111 demonstrators and thousands of civilian casualties. Needless to say not a single Israeli soldier had been injured and one of the Palestinians killed, Yasser Murtada, was a well respected journalist who had previously worked for the BBC, and was clearly wearing a PRESS jacket at the moment he was shot in the chest by a carefully aimed sniper's bullet.
He, like others, was also killed some distance from the illegally erected border/prison fence which isolates the population of Gaza from both their family relatives and any chance of gainful economic employment in wealthier areas. That's why the popular anology which compares Israel to South African apartheid is highly misleading because in South Africa, at least the white population needed the blacks as workers, even if they committed appalling atrocities, but in Israel the Palestinian population are neither needed nor wanted by Israeli employees.
Palestinians are treated worse than dogs, to whom humans tend to show some sympathy, but rather as unworthy of any consideration, so much so that past Israeli military operations against Gaza in which the planners know thousands of civilians are likely to die are given the military term "mowing the grass", because the Palestinian civilian population is considered of no more value in importance, than the ants one might tread underfoot when one ventures into the garden.
Lots of love to all my friends!
I didn't know him well, but it breaks my heart learning today that a young man only 18 committed suicide. I wish I could have helped him!
John Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:
Education
B.A. Classics, University of Washington, 1/1968
M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973
Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978
Academic Appointment, Affiliation, and Employment History
Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-
Dean of the School of Fine Arts, University of Southern California, 1993-1996
Chairman of the Department of Art History, University of Southern California, 1990-1993
Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991
Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987
Curator, Johns Hopkins University Archaeological Museum, 1980-1987
Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980
Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979
Description of Research
Summary Statement of Research Interests
Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.
Research Specialties
Classical Art and Archaeology
Honors and Awards
Elected Life Member, German Archaeological Association, 2000-
American Council of Learned Societies Fellowship, awarded for second time, 2006-2007
Guggenheim Fellowship, deferred until 2007-2008, 2006-2007
Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007
Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005
Mellon Foundation Award for Excellence in Mentoring, 2004-2005
Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001
National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996
American Council of Learned Societies Fellowship, 1987-1988
National Endowment for the Humanities Fellowship, 1983-1984
Mellon Postdoctoral Fellowship, 1978-1979
Fulbright Award, Fellowship to Italy, 1975-1976
CURRICULUM VITAE
JOHN POLLINI
Department of Art History
Von Kleinsmid Center 351 University of Southern California
Los Angeles, CA 90089-0047
Professor of Classical Art and Archaeology, Department of Art History
Joint Professor, Department of History
Adjunct Professor, Department of Classics
President, Classical Archaeological Association of Southern California (CAASC)
DEGREES
Ph. D. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (1978) (interdisciplinary program involving the Departments of Art History,
Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor
fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in
ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]
M.A. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian
Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman
East]
B.A. magna cum laude, Classics, University of Washington (1968)
POSTDOCTORAL ACADEMIC APPOINTMENTS
Dean of the School of Fine Arts, University of Southern California, with administrative,
budgetary, and fund-raising responsibilities (1993-1996)
Chairman of the Department of Art History, University of Southern California
(1990-1993)
Full Professor, University of Southern California, Department of Art History
(1991-present), with joint appointment in the Department of History and adjunct
appointment in the Department of Classics
Associate Professor, University of Southern California, Department of Art History, with
adjunct appointment in the Department of Classics (1987-1991)
Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and
Curator of the Johns Hopkins University Archaeological Museum (1980-1987)
Visiting Assistant Professor, Johns Hopkins University, Department of Classics
(1979-1980)
Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics
(1978-1979)
INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,
AWARDS, HONORS
William E. Metcalf Lectureship (2008)
John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to
2007-2008)
Whitehead Professor of Archaeology, American School of Classical Studies at
Athens (2006-2007)
American Council of Learned Societies Fellowship (2006-2007)
Kress Foundation Travel Grant (Summer 2006)
Mellon Foundation Award for Excellence in Mentoring (2005)
Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)
Distinguished Lecturer, Biblical Archaeological Society and Center for Classical
Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on
Roman and Christian Religion, Art, and Ideology
Kress Foundation Travel Grant (2003)
Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001
Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1995-1996)
Kress Foundation Travel Grant (Summer 1988)
American Council of Learned Societies Fellowship (1987-1988)
Kress Foundation Travel Grant (1987)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1983-1984)
Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)
Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)
Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)
UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS
Departmental Nominee for University Associates Award for Excellence in Teaching
(2002-2005)
College Faculty Research Development Award (consecutive years: 2000-2007)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging
Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and
Traditional Media” (2003-2004)
Grant for the “College Initiative for the Study of Political Violence” (2002)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and
interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”
(2000-2001)
University of Southern California Senior Nominee for National Endowment for the
Humanities Summer Stipend for Faculty Research (1998-1999)
Departmental Nominee for University Associates Award for Excellence in Teaching
(1998-2001)
College Awards and Grants for Research Excellence (consecutive years: 1997-2000)
Hewlett Foundation Award and Grant for General Education Course Development
(1997-1998)
Faculty Research and Innovation Fund Grant, University of Southern California (1988)
University of California Traveling Fellowship (1976-1977)
Dean’s Fellowship, U.C. Berkeley (1973-1975)
Phi Beta Kappa (1968), University of Washington
ADDITIONAL EDUCATIONAL PREPARATION
Field trips sponsored by the American Academy in Rome, German Archaeological
Institute, and Comune di Roma (1975-1978)
Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek
and Roman art and architecture in Italy and elsewhere in Europe during this period
Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with
J. Frel (1973-1975)
Course in Greek art and archaeology at the Universität München, Munich, Germany
with E. Homann-Wedeking (1971)
Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)
Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,
with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)
ARCHAEOLOGICAL FIELD WORK
Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant
Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)
Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)
Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)
LANGUAGES
Ancient: Latin and Greek
Modern: German, Italian, French, modern Greek, some Turkish
BOOKS
PUBLISHED:
I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York
1987) (with a book subvention from the National Endowment for the Humanities).
II) Roman Portraiture: Images of Character and Virtue, with graduate student
participation (Fisher Gallery, Los Angeles 1990).
III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard
(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).
IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von
Zabern, Mainz 2003).
V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna
Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute
of America (editor, designer, and contributor of introduction, publication list, and
one of 19 essays) (Oxbow Publications, Oxford 2005).
SUBMITTED:
VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of
Ancient Rome (University of Oklahoma Press), comprising eight chapters:
CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics
CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in
Augustus’ Representational Program
CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of
Alexander
CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the
Creation of a Dynastic Narrative [revised and updated essay originally published in
German]
CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].
CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and
the Ara Providentiae Augustae
CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception
and Religious Beliefs
CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual
Heirs in the Transmission of the Leadership of the State
IN PROGRESS:
VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study
in Religious Intolerance in the Ancient World
VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of
Visual Imagery [with DVD Virtual Reality Program of the Monuments]
IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership
X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves
in Roman Art -- 3rd Century B.C. - 4th Century A.D.
ARTICLES
PUBLISHED:
1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal
5 (1977) 63-66.
2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen
88 (1981) 117-40.
3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art
Gallery 40 (1982) 1-12.
4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in
American Museums,” in American Journal of Archaeology 88 (1984) 547-55.
5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in
American Numismatic Society Museum Notes 30 (1985) 113-17.
6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for
Hermeneutical Studies: Colloquy 49 (1985) 44-46.
7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of
Archaeology 90 (1986) 453-60.
8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della
Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.
9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in
the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:
Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and
M. Waelkens (Dordrecht 1988) 207-17.
10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early
Principate,” in Between Republic and Empire: Interpretations of Augustus and His
Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.
11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in
Journal of Roman Archaeology 5 (1992) 203-208.
12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American
Journal of Archaeology 96 (1992) 249-55, 283-300.
13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First
Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.
14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a
Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday
(Cambridge 1993) 258-98.
15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur
Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.
16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)
30-31.
17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic
Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)
262-82.
18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image
of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics
in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.
19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic
Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of
Roman Archaeology 11 (1998) 275-84.
20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art
Bulletin 81 (1999) 21-52.
21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze
des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in
M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born
(Mainz 2000) 169-88.
22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,
Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:
Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First
International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5
October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.
23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen
Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.
24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman
Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty
Museum 10 (2001) 115-52.
25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the
Art Museum, Princeton University (Princeton 2001) 6-11.
26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty
Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze
Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.
Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.
27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und
die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative
Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales
Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen
Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna
2002) 137-59.
28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”
Römische Mitteilungen 109 (2002) 11-42.
29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in
Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden
2003) 149-66.
30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from
the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen
111 (2004) 1-28.
31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic
Surge,” in Römische Mitteilungen 111 (2004) 283-98.
32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and
Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann
on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.
J. Pollini (Oxbow Publications, Oxford 2005) 89-122.
33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst
48 (2005) 57-72.
34) “A North African Portrait of Caracalla from the Mellerio Collection and the
Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.
35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario
della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83
(2005) 235-47.
36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the
Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in
Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East
and Mediterranean (Oriental Institute Seminars 3, University of
Chicago), ed. N. Laneri (Chicago 2007) 237-85.
37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.
FORTHCOMING:
38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”
in the proceedings of an international conference on “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power” (University of
Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,
edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).
39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin
Antieke Beschaving 83 (2008) 133-38.
40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in
Athenische Mitteilungen 122 (2007).
41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:
A Case Study of the Mausoleum of Augustus,” for the proceedings of an international
conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by
the British Academy and the University of London.
42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at
Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,
Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.
43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and
Rome (2008).
44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).
IN PROGRESS:
45) “The ‘Colville Athena’ Head and Its Typology.”
46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the
Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”
REVIEW ARTICLES
PUBLISHED:
D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),
in Art Bulletin 81 (1999) 723-35.
E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial
Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88
(2006) 591-98.
BOOK REVIEWS
PUBLISHED:
M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of
Archaeology 87 (1983) 572-73.
J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of
Archaeology 90 (1986) 134-36.
R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American
Journal of Philology 107 (1986) 523-27.
PUBLISHED IN CHOICE:
E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in
vol. 37 (1999) 126.
B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),
in vol. 37 (2000) 1095.
W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural
Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.
in vol. 37 (2000) 1458.
V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan
Museum of Art (New York 2000)in vol. 38 (2000) 1953.
Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)
4036.
M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)
5409.
F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture
(Ashgate 2000) in vol. 39 (2001) 106.
J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York
2001) in vol. 39 (2002) 3755.
Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton
2001) in vol. 39 (2002) 6218.
G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early
Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.
A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,
Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.
S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41
(2003) 89.
J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from
the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New
Haven 2003) in vol. 41 (2004) 2584.
G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)
5083.
Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.
Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.
E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples
(Cambridge 2004) in vol. 42 (2004) 1215-16.
D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42
(2005) 1809.
S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology
(Cambridge 2005) in vol. 43 (2006) 1586-87.
C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford
2005) in vol. 44 (2006).
Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and
F. Mee (York 2006) in vol. 44 (2006).
M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens
(Cambridge 2006) in vol. 44 (2006).
PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):
Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of
this Course Manual with digitized images
Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version
of this Course Manual with digitized images
Digging into the Past: Material Culture and the Civilizations of the Ancient
Mediterranean: Course Manual (43 pages)
Proseminar Guide to General and Specific Works on Greek and Roman Art and
Archaeology and Related Disciplines (50 pages) and online version
Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology
in Classical Art and Archaeology and Related Disciplines” with links to other important
websites in the fields of Art, Archaeology, Classics, and Ancient History
Website for AHIS 201g: “Digging into the Past: Material Culture and the
Civilizations of the Ancient Mediterranean” (with digitized images)
PAPERS GIVEN AT INTERNATIONAL AND NATIONAL
CONFERENCES AND SYMPOSIA
On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,
Berkeley (April, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)
Aspects of Ancient Religion: University of California at Berkeley (April, 1987)
Marble and Ancient Greece and Rome: International conference sponsored by
NATO at Il Ciocco (Tuscany), Italy (May, 1988)
Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison
(October, 1989)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)
XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)
UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power
and Space: USC, Los Angeles (March, 1997)
International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and
Engineers in the Campi Flegrei (July, 1997)
International Symposium at the University of Vienna: Interdisziplinäres Kolloquium
Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)
First International Conference on the Archaeology of Paros and the Cyclades: Paros,
Greece (October, 1997)
Getty Research Institute Colloquium: Work in Progress (November, 1997)
Annual Meetings of the Art Historians of Southern California at California State
University, Northridge, California (November, 1998)
XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte
(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das
Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,
chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,
Einzelstücke, und Typen”
First International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired
session on “Ideology, Historiography, and the Imperial Family” (May, 2000)
International Symposium at Emory University, Atlanta: Tyranny and Transformation
(October, 2000)
Annual Meeting of the Art Historians of Southern California at the Getty Center,
Los Angeles, California (November, 2000)
Getty Research Institute Colloquium: Work in Progress (December, 2000)
Second International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of
the Princeps and the Ruler Cult” (May, 2001)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)
Third International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History
and Ideology” (May, 2002)
Symposium on the Age of Augustus at UCLA -- (Feb., 2003)
Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and
chaired session (May, 2003)
International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a
paper, chaired session on “Ancient Society”
VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)
International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)
Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard
Brilliant) (April, 2004)
International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma
(Naples) (May, 2004): Besides giving a paper, chaired session
International Conference at University of Michigan: “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)
International Conference at Stanford University: “Seeing the Past” (February 2005)
International Conference at the University of London: “Computer Technology and the Arts:
Theory and Practice” (November 2005)
International Conference at the University of Chicago: “Performing Death: Social Analyses
of Funerary Ritual in the Mediterranean” (February 2006)
VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)
Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January
2007)
PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE
ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE
COLLEGE ART ASSOCIATION
Boston (AIA, December, 1979)
New Orleans (AIA, December, 1980)
San Francisco (AIA, December, 1981)
Philadelphia (AIA, December, 1982)
Cincinnati (AIA, December, 1983)
Toronto (AIA, December, 1984)
Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the
Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and
Art
San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic
Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics
illustrating connections between Roman art and philology
Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the
Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in
Greek and Roman Art
Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking
Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”
New York (AIA, December, 1996) -- special poster session: “The Marble Type of the
Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration
with Norman Herz, Director of Programs, Center for Archaeological Sciences, University
of Georgia)
Chicago (AIA, December, 1997)
Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave
‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in
honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the
Archaeological Institute of America
San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd
OTHER ACADEMIC AND PUBLIC LECTURES/TALKS
American Academy, Rome, Italy (March, 1976)
Cleveland Society AIA, Cleveland, Ohio (April, 1979)
Johns Hopkins University, Baltimore, Md. (September, 1980)
Institute of Fine Arts, New York, N.Y. (October, 1980)
Metropolitan Museum of Art, New York, N.Y. (January, 1983)
New York Society AIA, New York, N.Y. (January, 1983)
Baltimore Society AIA, Baltimore, Md. (February, 1983)
University of Toronto, Toronto, Canada (March, 1987)
University of Southern California, Los Angeles, Ca. (March, 1987)
Columbia University, New York, N.Y. (April, 1987)
Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)
Tulane University, New Orleans, La. (February, 1990)
Classical Archaeological Society of Southern California, USC, Ca. (February 1990)
Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)
Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,
Ca. (March, 1990)
Institute of Fine Arts, New York, N.Y. (April, 1990)
American Academy, Rome, Italy (May, 1990)
University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)
San Diego Society AIA, San Diego, Ca. (September, 1990)
Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.
(November, 1990).
University of Pennsylvania, Philadelphia, Pa. (December, 1990)
Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.
(March 1991)
Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)
Villanova University, Villanova, Pa. (November, 1991)
Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)
Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,
Washington D.C. (November, 1992)
University of North Carolina, Chapel Hill, N.C. (November, 1992)
Duke University, Durham, N.C. (November, 1992)
University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los
Angeles, Ca. (December, 1992)
University of Southern California, Los Angeles, Ca. (January, 1993)
J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,
Ca. (February, 1993)
Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)
California State University, Long Beach, Ca. (March, 1993)
Stanford University, Palo Alto, Ca. (April, 1993)
University of California, Berkeley, Ca. (April, 1993)
California State University, Northridge, Ca. (April, 1993)
University of Arizona, Tucson, Az. (April, 1993)
American Academy, Rome, Italy (June, 1994)
Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)
University of California, Irvine (May, 1997)
American Academy, Rome, Italy (July, 1997)
American School of Classical Studies, Athens (October, 1997)
Los Angeles County Museum of Art, Los Angeles (March, 1998)
British School at Rome (June, 1998)
University of California, Berkeley (November, 1998)
Classical Archaeological Society of Southern California, University of California,
Santa Barbara (March, 1999)
Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)
Classical Archaeological Society of Southern California, Getty Research Institute,
Brentwood, Ca. (April, 2001)
American Academy, Rome, Italy (May, 2001)
Loyola Marymount, Los Angeles (March, 2002)
Southern California Institute of Architecture (February, 2003)
Columbia University, New York (April, 2003)
University of Amsterdam, the Netherlands (May, 2003)
University of Nijmegen, the Netherlands (May, 2003)
American School of Classical Studies, Athens (September, 2003)
University of Oklahoma, Norman (March, 2005)
Cambridge University, Cambridge, England (November, 2005)
American School of Classical Studies at Athens, Greece (March, 2007)
University of Athens, Greece (May, 2007)
Los Angeles Society of the AIA, Los Angeles (December, 2007)
College of William and Mary (January, 2008)
Duke University, Durham (February, 2008)
Dickinson College, Carlisle, PA (March, 2008)
University of Nebraska, Lincoln (April, 2008)
AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)
Participated in all Fall trips of the School to various parts of Greece, giving
presentations on each of the trips.
Participated in the School’s Spring trip to Central Anatolia, giving several presentations.
Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of
Images and Shrines of Classical Antiquity.”
MISCELLANEOUS TALKS AND PRESENTATIONS
Lectures and talks on site regarding the architecture and topography of Rome, Ostia,
and Hadrian’s Villa for members of the Technische Universität für Architektur und
Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in
Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of
architecture in a joint summer program of the University of Southern California and the
University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.
Talks on various aspects of Classical art and archaeology at meetings of the
Archaeological Society of the Mid-Atlantic States (1980-1987)
Gallery talks on the ancient collections of the Archaeological Museum of the Johns
Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)
Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles
County Museum of Art (1987-present)
Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of
Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics
SPECIAL TALKS AND LECTURES AT USC
Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”
(March, 2005)
Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the
Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,
2005)
University of Southern California’s 125th Celebration: For Symposium on “Trojan
Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”
(October, 2005)
MEDIA INTERVIEWS AND CONSULTATION
New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The
History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox
Featured piece on my innovative work on the marble type of the statue of Augustus from
Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece
Today 35 (1999) 20-24.
ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES
Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for
university students and the general public, 1998)
Greece (Attica and the Peloponnese) (for university students and the general public, 1999)
Central Italy (for university students and the general public, 2000, 2002, 2003)
PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA
Roman Sculpture and Architecture: German Archaeological Institute, Rome
(January, 1978)
Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery
of Art (January, 1981)
The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)
Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and
the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)
Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)
Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for
Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty
Museum (April, 1988)
International Conference on Roman Archaeology and Latin Epigraphy: University of
Rome and the French School of Rome (May, 1988)
Roman Portraits in Context: Emory University (January, 1989)
Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)
Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)
International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,
1996)
History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)
Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)
Marble Conference on Thasos, Liman, Thasos (Sept. 2003)
OTHER PROFESSIONAL ACTIVITIES
Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of
Classical Studies
Editorial Board, American Journal of Philology (January, 1982-January, 1987)
Delegate from Baltimore Society AIA to National Convention (1984-1986)
Vice-President, Baltimore Society of the AIA (1985-1987)
Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)
Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-
Atlantic States (1978-87)
Founder and President of the Classical Archaeological Society of Southern California
(1987-present)
Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-
present)
Oversaw the publication and helped edit the newsletter “ARTFACTS” of the
School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts
USC Representative to Advisory Council of the American Academy in Rome
(1993-present)
Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles
(1995-1998)
Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)
(1996-1998)
Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)
Reviewer for the Getty Grant Program (1999)
Reviewer for the MacArthur Foundation Grant (2000, 2003)
Planning Committee for a Four-Year International Conference on “Roman Imperial
Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-
2003)
Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,
Direzione al Foro di Augusto (2004-present)
Editor of the newsletter “Musings” for the Department of Art History, USC (2005)
Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)
Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting
of the Archaeological Institute of America (San Diego 2007)
UNIVERSITY COMMITTEES AND OTHER SERVICE
Faculty Senate (1988-1991)
Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)
Chairman, Personnel Committee of the School of Fine Arts (1988-1990)
Library Liaison Officer for Art and Architecture Library (1987-present)
Search Committee for Reference Librarian of the Art and Architecture Library
(1989-1990 and 2000)
University Library Committee (1989-1990, 1998-2001)
Recruitment Committee for the School of Fine Arts (1989-1995)
Space Allocation Committee, School of Fine Arts (1989-1990)
University Research Committee (1990-1991)
Promotion Committee, School of Fine Arts (1990-1995)
University Ad Hoc Committee on Revenue Center Management (1990-1995)
Committee for University Development, School of Fine Arts (1993-1995)
Development Task Force, the School of Fine Arts (1993-1995)
Consultative Committee to the Provost (Spring 1993-1995)
University Galleries Advisory Committee (1993-1995)
University Committee on Transnational and Multicultural Affairs (1993-1995)
Provost’s Council at USC (formerly Council of Deans) (1993-1995)
USC Representative to the Advisory Council of the American Academy in Rome
(1993-present)
Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)
Consortium Council of Deans for Development at USC (1995)
Tenure and Promotion Committee, Department of Art History (1995-to present)
Recruitment Committee for Department of Art History in the College of
Letters, Arts, and Sciences (1996-2005)
Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary
Ancient Mediterranean Studies Program (1997-1999)
Chinese Search Committee, Department of Art History (1998-1999)
Japanese Search Committee, Department of Art History (1998-1999)
Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring
Salvatore Settis) (1998-1999)
Curriculum Committee (Co-Chair) (1998-1999)
Chair, Committee for Selection of Departmental Chair (1999-2000)
Chair, Merit Review Committee (1999-2000)
Committee for the Establishment of an Undergraduate Major in Archaeology
(2002-present)
Greek Art Search Committee, Department of Art History and Classics (2001-2004)
Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-
present)
Junior Faculty Review Committee, Department of Art History (2003)
USC’s Arts and Humanities Committee (2003-2004)
Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)
MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS
NATIONAL:
Archaeological Institute of America
College Art Association
American Philological Association
Association of Ancient Historians
Vergilian Society
INTERNATIONAL:
Deutsches Archäologisches Institut
Associazione Internazionale di Archeologia Classica
Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)
Society for the Promotion of Roman Studies
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
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If You Think You are and want to blog for us please apply here
In a nation criminalising dissent, these two protesters committed their "crime" in broad daylight: they held a sign. Their simple placards directly challenge a government that prosecutes peaceful protesters under terror laws while remaining complicit in an assault that has systematically killed over 63,000 Palestinians. They acted in defiance of a state that ignores the deliberate weaponisation of starvation which created a confirmed famine in Gaza.
Their stance isn't radical; it reflects a powerful academic and human rights consensus. The International Association of Genocide Scholars, Amnesty International, and even Israeli human rights groups have all concluded that Israel is committing genocide. The deep, weary but determined resolve on their faces is a silent testament to a profound moral clarity, a refusal to be silenced in the face of the gravest of all war crimes - genocide.
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Protest and the Price of Dissent: Palestine Action and the Criminalisation of Conscience
Parliament Square on Saturday, 6 September 2025 was a scene of quiet, almost solemn defiance. The air, usually thick with the noise of London traffic and crowds of tourists, was instead filled with a palpable tension, a shared gravity that emanated from the quiet determination of hundreds of protesters, many of them over 60 years old, some sitting on steps or stools and others lying on the grass.
They held not professionally printed banners, but handwritten cardboard signs, their messages stark against the historic grandeur of their surroundings. This was not a march of chants and slogans, but a silent vigil of civil disobedience, a deliberate and calculated act of defiance against the state.
On that day, my task was to photograph the protest against the proscription of the direct-action group Palestine Action. While not always agreeing entirely with the group’s methods, I could not help but be struck by the profound dedication etched on the faces of the individual protesters.
As they sat in silence, contemplating both the horrific gravity of the situation in Gaza and the enormity of the personal risk they were taking — courting arrest under terror laws for holding a simple placard — their expressions took on a quality not dissimilar to what war photographers once called the “thousand-yard stare.” It was a look of weary but deep and determined resolve, a silent testament to their readiness to face life-changing prosecution in the name of a principle.
This scene poses a profound and unsettling question for modern Britain. How did the United Kingdom, a nation that prides itself on its democratic traditions and the right to protest, arrive at a point where hundreds of its citizens — clergy, doctors, veterans, and the elderly — could be arrested under counter-terrorism legislation for an act of silent, peaceful protest?
The events of that September afternoon were the culmination of a complex and contentious series of developments, but their significance extends far beyond a single organisation or demonstration. The proscription of Palestine Action has become a critical juncture in the nation’s relationship with dissent, a test of the elasticity of free expression, and a stark examination of its obligations under international law in the face of Israel deliberately engineering a catastrophic humanitarian crisis in Gaza.
To understand what is at stake, one must unravel the threads that led to that moment: the identity of the movement, the state’s legal machinery of proscription, the confrontation in Parliament Square, and the political context that compelled so many to risk their liberty.
Direct Action and the State’s Response
Palestine Action, established in 2020, has never hidden its approach. Unlike traditional lobbying groups, it rejected appeals to political elites in favour of disrupting the physical infrastructure of complicity: factories producing parts for Israeli weapons systems, offices of arms manufacturers, and — eventually — military installations themselves.
Its tactics, while non-violent, were disruptive and confrontational. Red paint sprayed across buildings to symbolise blood, occupations that halted production, chains and locks on factory gates. For supporters, these were acts of conscience against a system enabling atrocities in Gaza. For the state, they were criminal disruptions of commerce.
That clash escalated steadily. In Oldham, a persistent campaign against Elbit Systems, a key manufacturer in the Israeli arms supply chain, culminated in the company abandoning its Ferranti site. Later actions targeted suppliers for F-35 fighter jets and other arms manufacturers.
These were no random acts of mindless vandalism but part of a deliberate strategy: to impose costs high enough that complicity in Israel’s war effort would become unsustainable.
The decisive rupture came in June 2025, when activists infiltrated RAF Brize Norton, Britain’s largest airbase, and sprayed red paint into the engines of refuelling aircraft linked to operations over Gaza.
For the activists, it was a desperate attempt to interrupt a supply chain of surveillance and logistical support to a state commiting genocide. For the government, it crossed a line: military assets had been attacked. Within days, the Home Secretary announced Palestine Action would be proscribed as a terrorist organisation.
Proscription and the Expansion of “Terrorism”
Here lies the heart of the controversy. The Terrorism Act 2000 defines terrorism with unusual breadth, encompassing not only threats to life but also “serious damage to property” carried out for political or ideological aims. In this capacious definition, breaking a factory window or disabling a machine can be legally assimilated to mass murder.
By invoking this law, the government placed Palestine Action on the same legal footing as al-Qaeda or ISIS. Supporting it — even symbolically — became a serious offence.
Since July 2025, merely expressing support for the organization can carry a maximum prison sentence of 14 years.
This is based on Section 12 of the Terrorism Act 2000. The specific offense is "recklessly expressing support for a proscribed organisation". However, according to Section 13 of the Act, a lower-level offence for actions like displaying hand held placards in support of a proscribed group carries a maximum sentence of six months imprisonment or a fine of five thousand pounds or both.
Civil liberties groups and human rights bodies have denounced the proscription move as disproportionate. Their concern was not primarily whether Palestine Action’s tactics might violate existing criminal law. One might reasonably argue that they did unless they might sometimes be justified in the name of preventing a greater crime.
But reframing those actions as “terrorism” represented a dangerous category error. As many pointed out, terrorism has historically referred to violence against civilians. Expanding it to cover property damage risks draining the term of meaning. Worse, it arms the state with a stigma so powerful that it can delegitimise entire political positions without debate.
The implications go further. Proscription does not simply criminalise acts. It criminalises expressions of allegiance, conscience and even speech. To say “I support Palestine Action” is no longer an opinion but technically a serious crime. The state has moved from punishing deeds to punishing expressions of solidarity — a move with chilling consequences for democratic life.
Parliament Square: Civil Disobedience on Trial
It was this transformation that brought nearly 1,500 people into Parliament Square on 6 September. They knew what awaited them. Organisers announced in advance that protesters would hold signs reading: “I oppose genocide. I support Palestine Action.” In doing so, they openly declared their intent to break the law.
The crowd was strikingly diverse. Retired doctors, clergy, war veterans, even an 83-year-old Anglican priest. Disabled activists came in wheelchairs; descendants of Holocaust survivors stood beside young students. This was not a hardened cadre of militants but a cross-section of society, many of whom had never before faced arrest.
At precisely 1 pm, the protesters all sat or lay down silently, cardboard signs raised. There was no chanting, no aggression — only a quiet insistence that they would not accept the criminalisation of conscience.
The police response was equally predictable. Hundreds of officers moved systematically through the crowd, arresting anyone displaying a sign. By the end of the day, nearly 900 people were detained under counter-terrorism law. It was one of the largest mass arrests in modern British history.
Official statements later alleged police were met with violence — officers punched, spat on, objects thrown. Yet independent observers, including Amnesty International, contradicted this. They reported a peaceful assembly disrupted by aggressive policing: batons drawn, protesters shoved, some bloodied.
www.amnesty.org/zh-hans/documents/eur45/0273/2025/en/
Video footage supported at least some of Amnesty's report.
www.youtube.com/watch?v=mZQGFrqCf5U&t=1283s
The two narratives were irreconcilable, but only one carried the weight and authority of the state.
The entire event unfolded as political theatre. The government proscribed a group, thereby creating a new crime. Protesters, convinced the law was unjust, announced their intent to commit that crime peacefully. The police, forewarned, staged a vast operation. Each side acted out its script. The spectacle allowed the state to present itself as defending order against extremism — while in reality silencing dissent.
The Humanitarian Context: Why Protesters Risked All
To see the Parliament Square protest as a parochial dispute over free speech is to miss its driving force. The demonstrators were not there merely to defend abstract principles. They were responding to what they, and a growing body of international experts, describe as a genocide in Gaza.
By September 2025, Gaza had descended into almost total collapse. Over 63,000 Palestinians had been killed, the majority of them women and children. More than 150,000 had been injured, many maimed for life. Entire neighbourhoods had been flattened. Famine was confirmed in August, with Israel continuing to impose and even tighten deliberate restrictions on food, water, and fuel, a strategy condemned by human rights groups as a major war crime. Hospitals lay in ruins. Ninety percent of the population had been displaced.
It is in this context that the term genocide has been applied. Legal scholars point not only to mass killings but also to the deliberate infliction of life-destroying conditions, accompanied by rhetoric from Israeli officials dehumanising Palestinians as “human animals.” In September 2025, the International Association of Genocide Scholars declared that Israel’s actions met the legal definition of genocide.
www.bbc.co.uk/news/articles/cde3eyzdr63o
Major NGOs, UN experts, and even Israeli human rights groups such as B’Tselem echoed that conclusion.
For the protesters, then, the question was not abstract but immediate: faced with what they saw as a genocide, could they in good conscience remain silent while their own government criminalised resistance to it? Their answer was to risk arrest, their placards making the moral connection explicit: opposing genocide meant supporting those who sought to stop it.
The Price of Dissent
The mass arrests in Parliament Square were not an isolated incident of law enforcement. They were the product of a broader trajectory: escalating tactics by a direct-action movement, a humanitarian catastrophe abroad, and a government determined to suppress dissent at home through the bluntest of instruments.
The official line insists that Palestine Action’s campaign constituted terrorism and thus warranted proscription. On this view, the arrests were simple enforcement of the law. Yet this account obscures the deeper reality: a precedent in which the state redefined non-lethal protest as terrorism, shifting from punishing actions to criminalising expressions of solidarity.
The cost is profound. Once speech and conscience themselves become suspect, dissent is no longer tolerated but pathologised. The chilling effect is already evident: individuals weigh not just whether to join a protest, but whether uttering support might expose them to years in prison. Terror laws, originally justified as a shield against mass violence, are recast as tools of political management.
The protesters understood this. That “thousand-yard stare” captured in their faces was not only the weight of potential arrest, but the knowledge of Gaza’s devastation, the famine and rubble, the deaths mounting daily. It was also the recognition that their own government had chosen to silence them rather than address its complicity.
In a functioning democracy, the question is not why citizens risk arrest for holding a handwritten cardboard sign. It is why a state finds it necessary to treat that act as a terror offence. The answer reveals a narrowing of democratic space, where conscience itself is deemed subversive. And that narrowing, history teaches, carries consequences not just for those arrested, but for the society that allows it.
Nature paths suitable for wheelchairs and pushchairs will wind you around a stunning, safe wetland habitat littered with pockets of woodland and wildflower meadows, and the friendly Kingfisher Tearooms is a great place to you recharge with friends and family. Hides allow you to get up close and personal with birds such as woodpeckers and kingfishers and during your wander you may also encounter mammals such as roe deer and hedgehogs. The ponds provide a home for newts, frogs and whirligig beetles with staff on hand to show you the best spots for pond dipping. The meadows during summer are full of butterflies including small tortoiseshell, in comparison to a snow laden winter where you may be lucky enough to spot our overwintering bitterns – this globally threatened species is a real highlight for any wildlife watcher.
Come summer vivid purple loosestrife and Southern marsh orchids provide plenty of colour.
The Potteric Carr Nature Reserve trail guide* is available to download below, which includes a map with all the hides and paths marked on so that you don't miss out any of the wonderful habitats and species during your visit. Also don't miss out on the Minibeast Totem Pole trail, which has a podcast put together by Pheasant Bank Academy.
For an idea of the geat array of wildlife that can be discovered on the nature reserve take a look at our latest sightings blog.
Please note we unfortunately do not allow dogs or bikes onto the reserve as they may disturb or harm our wonderful wildlife.
Volunteering at Potteric Carr
To find out more about how to get involved at Potteric Carr, including our regular practical conservation task days, please see our volunteering pages.
Education at Potteric Carr
Potteric Carr also offers a fantastic education programme, working with children, young people and adults to encourage a love and understanding of Yorkshire's amazing wildlife!
For more information about visiting Potteric Carr or getting involved in volunteering, send an email to potteric.carr@ywt.org.uk or call 01302 570077.
www.ywt.org.uk/potteric-learning
Potteric Carr Nature Reserve offers a rich variety of wildlife education programmes for community groups and all key stage level classes from Early Years through to University level.
The activities held at Potteric Carr Nature Reserve aims to inspire people of all ages and backgrounds to take an active interest in local wildlife and its conservation. We provide children, young people and adults with fun, relevant, high quality environmental education. Out of classroom learning on site offers fantastic opportunities for positive, progressive and participative learning.
For more information on the sessions available and costs associated please see our learning pages.
Email the Education Team for more information or call 01302 570077.
www.ywt.org.uk/discover-learn/potteric-carr-flagship-rese...
As well as formal education programme, we also offer informal sessions for community groups including out of school groups such as Scouts and Guides, youth groups and school holiday clubs, and also for adult groups.
We're a learning destination for the Children's University!
Doncaster Children's University is a Study Support scheme offered by Doncaster College. Children taking part in the scheme can collect credits in a 'Passport to Learning' and work towards a 'National Award' by attending after school clubs or Learning Destinations.
Children's University Learning Destinations provide learning opportunities for children outside of school hours and out of the classroom! For more information about Doncaster Children's University and to find out where you can get a 'Passport to Learning', click here.
Come along to one of our events to get your passport stamped. Find out what events are coming up at Potteric Carr on our What's On pages.
www.ywt.org.uk/discover-learn/potteric-carr-flagship-rese...
We offer a range of exciting activities for brownies, cubs, scouts, guides and other groups at Potteric Carr which can be linked to badge work or just for fun!
All activities can be tailored to meet your groups needs. Here are just a few of the sessions you can expect to enjoy at Potteric Carr.
Beneath the water
Pond dipping to capture, identify and study mini-beasts that live under water, before returning them to their natural environment.
Mini-beast madness
Searching, sorting and studying mini-beasts found in leaf litter, log piles or grassland areas.
Where am I?
Discover how to find your way around the Reserve using geography including a map game, and learn to draw simple maps with keys yourself.
A special place
A series of activities aimed at helping children appreciate the wonders of nature including sticky palettes, journey sticks, un-natural trails.
Bush Craft
Try your hand at traditional crafts and help make some wonderful items as well as learning about bushcraft and survival in the wild!
www.ywt.org.uk/discover-learn/potteric-carr-flagship-rese...
Yorkshire Wildlife Trust received funding from the BIG Lottery to develop a community pond dipping station - an exciting new resource for local community groups to use.
This project provides community groups with an outdoor classroom stocked with all the necessary equipment; ID guides, interpretation and information to ensure a memorable visit to the nature reserve. We also hope discovering the benefits of having a pond will inspire action in the community. Ponds may be small but they are an important part of our landscape and create hotspots for a huge range of wildlife. Making a pond is one of the best ways to quickly and easily attract a variety of wildlife into your own backyard, whilst also providing a fascinating resource for all
www.ywt.org.uk/connect/flutter-by
Flutter By at Potteric Carr Nature Reserve started in March 2013 and aims to inspire all about our fascinating winged wildlife. Read on for more...
Generously funded through WREN, we have been able to create a new sensory garden and natural play area to be enjoyed by both the wildlife at Potteric Carr and most importantly you … our visitors!
WREN is a not for profit business that awards grants to community, environmental and heritage projects across the UK from funds donated by Waste Recycling Group (WRG) to the Landfill Communities Fund.
Peter Cox, managing director of WREN explains that "WREN is committed to funding projects that make a real difference to local communities, children and families. The Flutter By project will provide a fantastic space for local people to get outdoors and have some fun. We’re delighted to support Yorkshire Wildlife Trust to make this happen and look forward to the completion of the project in March 2013."
Invertebrates .... The basis of all ecosystems
7-spot ladybird - Credit Rachel ScopesWildflower meadows offer a diverse habitat rich in wildlife but this colourful landscape has been restricted in the UK due to change in land use and management since around the second world war. The decline in these habitats has been shown to have a negative effect on many invertebrate species, which in turn has caused noted declines in various other animals such as farmland birds and other small mammals. Invertebrate populations, ‘minibeasts’, play an important role in all ecosystems, by providing a service to both the environment and the species within it. Minibeasts not only provide an essential source of food for various animals, they also act as waste recyclers, pollinators and pest controllers and can be used to assess the ecological quality of a habitat. For these reasons the conservation of wildflower meadows are of increasing importance.
Flutter By
Flutter By, a component of The Connect Project, has been created to aid public engagement with the Humberhead Levels Nature Improvement Area (NIA), by building an area which can be use for exploration and learning. The old sensory garden at Potteric Carr Nature Reserve, which at present can be found along the Dragonfly Trail has undergone a transformation as our team of staff, contractors and volunteers all got their hands dirty rebuilding a natural play space and butterfly garden.
The garden has been filled with wildflowers which will attract numerous invertebrate species, in turn encouraging other species of birds and mammals to take advantage of the increasingly diversified habitat on the nature reserve. Along with the creation of new habitats, a variety of natural play equipment was commissioned which has been built and designed with the minibeast theme in mind! To help you learn more about the importance of invertebrates within the ecosystem and make your visit to the garden even more enjoyable a minibeast audio trail has also been put together. This trail consists of a number of minibeast inspired totem poles, each with a downloadable podcast for you to listen to as you search the garden (see below).
In addition to the environmental benefits Flutter By will create, it gives you a chance to get involved in a project which will benefit conservation and your local community.
There are various ways to get involved in Flutter By, from helping with the construction of the Garden and activity station to attending training sessions to learn how to teach groups in your community.
Children's Events
We have many children's events running throughout the year, many of which take place in or around the Flutter By Garden. Find out what events are coming up at Potteric Carr on our What's On pages.
Corporate Workdays
Flutter By is an ongoing project which needs continuous maintenance; one of the ways in which you can help is by booking a corporate workday. Corporate workdays are a brilliant opportunity to develop better working relationships, spend a day out of your normal working environment and make a difference to your local wildlife! Find out more about corporate workdays by contacting Lizzie Dealey.
Community Leader Training
Community Leader Training events offer a great opportunity to community group leaders to learn about minibeasting activities. Click here to find out more.
Explore the mosaic of habitats and wonderfully diverse wildlife at Potteric Carr Nature Reserve by picking one of four trails, many of which are suitable for wheelchairs and pushchairs.
The four routes are marked by coloured posts which include:
Dragonfly Trail - orange markers; 3 km lasting approx. 50 minutes
Expresso Trail - brown markers; 0.5 km lasting approx. 10 minutes
Railway Walk - red markers; 3 km lasting approx. 50 minutes
Wetland Walk - blue markers; 5 km lasting approx. 1 hour 10 minutes
All four routes cover approximately 8 km if you decide to make a day of it and take in the majority of the nature reserve. Please download the Potteric Carr Nature Reserve leaflet at the bottom of the page which shows all of the footpaths. On all routes you will come across several bird hides, the majority with ramp access. There is also a special iSpy leaflet to download for children, showing the Dragonfly Trail.
For a better view of the wildlife, stop in one of fourteen hides, which offer excellent vantage points.
After your walk be sure to stop in at the Kingfisher Tearooms for a cream tea or cake.
If you've brought along your children or grandchildren then don't miss out on the Discovery Room, open during weekends and in the school holidays and packed full with wildlife-themed books, games and crafts. Activity rucksacks are also available for our younger guests - ask at reception for more details.
We do ask that you keep to the footpaths so as not to disturb our wonderful wildlife, as conservation work is carried out in these areas. Please be aware that if crossing the railway you will need to be in possession of either your membership card or ticket.
We hope you enjoy the walks and don't forget to let us know of your wildlife sightings by adding them to our 'Potteric Carr Sightings' Blog in the left hand menu!
www.ywt.org.uk/discover-learn/potteric-carr-flagship-rese...
Come take a browse in the shop at Potteric Carr, with merchandise to tempt all ages
There is something for everyone at the Potteric Carr shop - with binoculars, books, bird seed and much more it really is worth the stop! If you're after something in a hurry and haven't got time to pop down to the shop then why not take a look online.
Stockists of:
Zeiss
Opticron
Vine House Farm
CJ Wildlife
The Nuttery
Jacobi Jayne (Squirrel Busters)
Gardman
Email Richard Sykes or call on 01302 570077.
www.ywt.org.uk/discover-learn/potteric-carr-flagship-rese...
Looking to visit Potteric Carr? Here is some useful information...
Opening Times:
Nature reserve: 9am - 5pm
Kingfisher Tearooms: 10am - 4pm (October - May) 10:30 am- 4:30pm (April - September)
Car parking: Locked at 5pm - if you would like to stay later, then arrive before 5pm and ask at the front desk
Open seven days a week (check website for Christmas closure times)
Prices:
Members of The Wildlife Trusts : Free
Adults: £4.00
Children: £2.00
Concessions: £2.50
Family: £7.50 (two adults & up to four under 16's)
No dogs or bikes please, they can disturb and harm our wonderful wildlife.
Address
Potteric Carr Nature Reserve
Sedum House
Mallard Way
Doncaster
DN4 8DB
Directions:
Coming from Doncaster take the White Rose Way (A6182), at the roundabout follow the directions for the M18. Potteric Carr Nature Reserve is signposted.
From the A1 (southbound) come off at Junction 35 for the M18, then take Junction 3 towards Doncaster and follow signs for the A6182 (White Rose Way). At the first set of lights you reach, turn right into Mallard Way. Park at Sedum House.
Nearest train station: Doncaster
For further information get in touch with us by calling 01302 570077 or by emailing potteric.carr@ywt.org.uk.
www.ywt.org.uk/potteric-kingfisher-tearooms
Visit the Kingfisher Tearooms
No trip to Potteric Carr Nature Reserve is complete without a rest stop at the Kingfisher Tearooms, where quality home-made food produced from local ingredients is our top priority.
Join us at the Kingfisher Tearooms for a spot of cream tea or a mouth-wateringly delicious sandwich packed full of local ingredients.
A child-friendly menu is available and for those wanting to venture from the tearooms for their lunch a family picnic basket provides the perfect solution.
All of our food is lovingly prepared from scratch, using the freshest of ingredients, with gluten free options available.
Opening Times:
April 1st - October 1st: 10:30am - 4:30pm
October 2nd - March 31st: 10am - 4pm
For more information:
Email Bev Walker or call 01302 364152.
We would love to help you with any bespoke cake orders, just get in touch!
Thank you to Network Rail, Unipart Rail and Phoenix Mechanical Services Ltd who have sponsored the Kingfisher Tearooms
www.ywt.org.uk/discover-learn/potteric-carr-flagship-rese...
Yorkshire Wildlife Trust with the help of volunteers work to ensure the variety of habitats at Potteric Carr Nature Reserve are maintained.
Reed management at Potteric Carr Nature Reserve - Credit Jim HorsfallSome of this work involves reed cutting, this is carried out on a 10-year rotation with different blocks cut on each year of the cycle.
The grasslands are managed through a conservation grazing programme using Highland cattle and Hebridean sheep to allow the less competitive species to establish. Hay cutting also occurs in some areas to remove nutrients and improve the grassland for wildflowers.
In the woodland some areas are coppiced and other trees are thinned out to let more light through to the woodland floor and encourage woodland flowers to grow.
Footpaths and benches are also maintained to ensure guests enjoy a pleasant visit!
Regular volunteer days are held on site to help with the management of the wonderful habitats and species found here.
For more information call Potteric Carr on 01302 570077.
I've been playing around with Lightroom and trying to figure it out because people seem to love it and they say it speeds up editing time. Right now all it's doing is slowing me down (though I'm pretty sure that's my fault not the program's) but I'm committed to giving it a shot.
The old Orphanage, now the public library.
Gouda is a city and municipality in the western Netherlands, in the province of South Holland. Gouda, which was granted city rights in 1272, is famous for its Gouda cheese, smoking pipes, and 15th-century city hall.
In the Middle Ages, a settlement was founded at the location of the current city by the Van der Goude family, who built a fortified castle alongside the banks of the Gouwe River, from which the family and the city took its name. The area, originally marshland, developed over the course of two centuries. By 1225, a canal was linked to the Gouwe and its estuary was transformed into a harbour. Gouda's array of historic churches and other buildings makes it a very popular day trip destination.
Around the year 1100, the area where Gouda now is located was swampy and covered with a peat forest, crossed by small creeks such as the Gouwe. Along the shores of this stream near the current market and city hall, peat harvesting began in the 11th and 12th centuries. In 1139, the name Gouda is first mentioned in a statement from the Bishop of Utrecht.
In the 13th century, the Gouwe was connected to the Oude Rijn (Old Rhine) by means of a canal and its mouth at the Hollandse IJssel was developed into a harbour. Castle Gouda was built to protect this harbour. This shipping route was used for trade between Flanders and France with Holland and the Baltic Sea. In 1272, Floris V, Count of Holland, granted city rights to Gouda, which by then had become an important location. City-canals or grachten were dug and served as transport ways through the town.
Great fires in 1361 and 1438 destroyed the city. In 1572, the city was occupied by Les Gueux (Dutch rebels against the Spanish King) who also committed arson and destruction. In 1577 the demolition of Castle Gouda began.
In 1574, 1625, 1636, and 1673, Gouda suffered from deadly plague epidemics, of which the last one was the most severe: 2995 persons died, constituting 20% of its population.
In the last quarter of the 16th century, Gouda had serious economic problems. It recovered in the first half of the 17th century and even prospered between 1665 and 1672. But its economy collapsed again when war broke out in 1672 and the plague decimated the city in 1673, even affecting the pipe industry. After 1700, Gouda enjoyed a period of progress and prosperity until 1730. Then another recession followed, resulting in a long period of decline that lasted well into the 19th century. Gouda was one of the poorest cities in the country during that period: the terms "Goudaner" and "beggar" were considered synonymous.
Starting in 1830, demolition of the city walls began. The last city gate was torn down in 1854. Only from the second half of the 19th century onward did Gouda start to profit from an improved economic condition. New companies, such as Stearine Kaarsenfabriek (Stearine Candle Factory) and Machinale Garenspinnerij (Mechanized Yarn Spinnery), acted as the impetus to its economy. In 1855, the railway Gouda-Utrecht began to operate. In the beginning of the 20th century, large-scale development began, extending the city beyond its moats. First the new neighbourhoods Korte Akkeren, Kort Haarlem and Kadebuurt were built, followed by Oosterwei, Bloemendaal, and Goverwelle after World War II.
From 1940 on, back-filling of the city moats and city-canals, the grachten, began: the Nieuwe Haven, Raam, Naaierstraat, and Achter de Vismarkt. But because of protests from city dwellers and revised policies of city planners, Gouda did not continue back-filling moats and city-canals, now considered historically valuable. In 1944, the railway station was damaged during an Allied bombardment, killing 8 and wounding 10 persons. This bombardment was intended to destroy the railroad connecting The Hague and Rotterdam to Utrecht.
After the war, the city started to expand and nearly tripled in size. New neighbourhoods, such as Gouda-Oost, Bloemendaal and Goverwelle were built. Over the last years there has been a shift from expanding the city towards urban renewal and gentrification.
Committed to expired Fujifilm Superia 100 using a Leica M6 and 28 mm Summicron ASPH lens. Developed using a C-41 kit from Ars-Imago and scanned using an Epson V850 using Silverfast. Positive conversion, colour and levels done with Negative Lab Pro.
I wanted a long and committed relationship with my Canon EF 200mm f1.8L lens, but alas, the lens didn't want that. I had it only a few years before the USM focus motor fried, with the distance setting fixed at 4.5 meters. Everything else still works. I can change the aperture, take a picture and it still came out tack sharp and beautiful as it has always been. But it won't AF or even manual focus, as the lens was designed as focus-by-wire that requires the ultrasonic motor to function in order for the lens to focus manually.
No parts to fix it. Even with parts, it would cost more than $1000 to fix.
It's a sad and costly love affair that didn't last. I still love the lens, and hope that I can find someway to get it to focus manually, like putting the lens on a focus helicoid as Ian suggested.
I committed to bringing trophies for the World Architecture theme. I thought it would be fun to make a "triumphal arch", which seems to incorporate the theme of architecture along with triumphing. I think they look better in person. I was also severely limited in color and piece count and all the rest. Oh well.
For added extra fun, I'm going to give a presentation on cheese slope mosaics Sunday morning.
Then I'm going to write an article about the convention for Hispabrick Magazine. Busy times!
I committed to post 8 images of each model... I have 5 more after this one.. I hope you all enjoy them..
This image is a product of one of two studio sessions I participated in recently. One night we shot High Key and the next night we shot Low Key. I will post them with alternating styles and models.
One of my good friends here on Flickr didn't know what High Key and Low Key lighting was. I wrote him a quick description that he found very helpful, so I thought I would share it here for those who might be interested.
This is a quick overview... Both High Key images and Low Key images make an intensive use of contrast, but in a very different way. When approaching a shoot of a dramatic portrait, the decision of making it a High Key, Low Key or "just" a regular image has great impact about the mood that this picture will convey. While High Key images are considered happy and will show your subject as a tooth-paste poster; Low Key portraits are dramatic and convey a lot of atmosphere and tension.
Click here to visit Steve Page Photography on FaceBook
Click on image or hit your "L" key to View On Black
It takes good clouds to make a great landscape photo, particularly at places like Glacier Point, and particularly at sunset. At mid-day there were clear blue skies over Yosemite so I gave up on the idea of going to Glacier Point at sunset and trying to find a place to set up my tripod amidst a horde of other photographers. But since one of our party had never been to Glacier Point we went up in the afternoon. A few clouds had appeared by the time we got there, but we had committed ourselves to be back in the Valley by evening so I took this shot before we headed back. As it turns out the clouds didn't produce a colorful sunset anyway.
I've been thinking about how blessed I am to live where I do. San Francisco is just 15 miles up the road. In the last year and half I've been able to drive to Big Sur, Palm Springs, Yosemite (three times), Muir Woods, Death Valley (twice), Bryce Canyon, Canyonlands, Mesa Verde and Arches national parks. There is so much more I could go to. Edward Weston said something about you shouldn't need to go further than your backyard to take photographs. I guess I've got a big backyard.
Ohio native Frank Stranahan came to the area now known as Fort Lauderdale in January 1893 at the age of 27, hired on to manage his cousin’s camp and ferry at Tarpon Bend on the New River. He quickly established a thriving trading business with the Seminole Indians, gaining a reputation among them as a fair businessman. Arriving by dugout canoes, large groups of Seminole families would camp at the post for days at a time.
In 1894, Frank acquired ten acres for his own commercial interests, and moved the trading post farther west along the river. This property became the focal point of the tiny New River settlement, of which Stranahan was now its postmaster. By 1899, the community had grown large enough to qualify for a teacher from the county board of education. Eighteen-year-old Ivy Julia Cromartie of Lemon City, what is now North Miami, was hired at $48 a month for the job. Community members built the one-room schoolhouse for Ivy and her nine students.
Frank and Ivy came to know each other during the five months Ivy lived and taught at the settlement. They married on August 16, 1900 at her family home, and as was not uncommon for married women at the time, Ivy gave up her paid position. She did not, however, give up her teaching aspirations. Instead, she turned her attention to the Seminole children, offering informal lessons at the trading post that respected the tribe’s traditions. Her approach quelled skeptical tribal elders’ fears and formed the basis for her life-long friendship with the Seminole people.
Frank built the present day Stranahan House in 1901; the lower floor served as a trading post and the upper floor as a community hall. By 1906, Frank’s business had expanded to include a general store and bank and he built a new building closer to the railroad, which had arrived in 1896. The old trading post was renovated as a residence for the Stranahans. The house went through a second major renovation between 1913 and 1915, when an interior staircase, electric wiring and plumbing were installed. As Frank’s businesses grew, so did the settlement. Named Fort Lauderdale after the army forts of the Second Seminole War the area was incorporated in 1911. Frank, by now a major land owner, donated property for many public projects and both he and Ivy took on leadership roles in the social and civic life of their developing city. In 1926, Florida’s land boom collapsed. Frank suffered extreme economic reverses that were worsened by two devastating hurricanes. Adding to Frank’s distress was the knowledge that friends who had invested with him were financially ruined as well. On May 22, 1929, deeply depressed and in ill health, Frank committed suicide, drowning in the New River in front of his home.
Ivy carried on, making ends meet by renting out rooms of her home and eventually leasing the lower floor to a series of restaurants. She gradually returned to her civic activism. Among her many accomplishments she became a long-term member of the city’s planning and zoning committee, successfully lobbied for the Homestead Exemption law, established the Friends of the Seminoles and founded Broward County chapters of the Red Cross and Campfire Girls.
Ivy remained in her home until her death on August 30, 1971 at the age of 90. The house was left to the Seventh Day Adventist Church, of which Ivy had been a member since 1915. It was purchased by the Fort Lauderdale Historical Society in 1975 and a project to restore it to its 1915 configuration was begun in 1980. In 1981, Stranahan House, Inc. became a separate non-profit entity. Construction was completed in 1984, and the house opened to the public as a historic house museum later that year. Supported in large part by the generosity of the community that Frank and Ivy Stranahan helped to found, the Historic Stranahan House Museum is host to 10,000 visitors each year, including thousands of Broward County school students.
en.wikipedia.org/wiki/Stranahan_House
www.facebook.com/StranahanHouse
en.wikipedia.org/wiki/Fort_Lauderdale,_Florida
Watch this amazing aerial video of downtown Fort Lauderdale and how it has built up over the last 100+ years right around this historic house, one of the first built on the New River in this area. It is the last surviving home downtown and can be seen at the one-minute mark:
www.youtube.com/watch?v=ncV4zL5vvVY&feature=youtu.be
Another video: great sites of Fort Lauderdale:
This photo is of Alex, a veteran and dedicated activist committed to progressive causes - here protesting against Assange's continued imprisonment and extradition.
Thousands of people gathered around the British parliament on Saturday 8 October 1922 to form the first ever human chain to surround the building to protest against Julian Assange's continued imprisonment and extradition. Many of the activists had travelled hundreds of miles - I met people who had travelled from Belgium, France and Germany.
The long line of people snaked around parliament's perimeter railings and across both Lambeth and Westminster bridges as well as traversing the south side of the river between St. Thomas' Hospital and Lambeth Palace, each person holding the hand of the person next to them. As a few people attached yellow ribbons to the railings by parliament they were immediately instructed by the police to remove them.
For the last eight months Julian Assange, who is being held in the maximum security Belmarsh Prison, has been kept completely isolated and without visitors, except for his lawyers. He been detained in appalling conditions and the former UN Special Rapporteur on torture, Neils Melzer, commented in 2019 that Assange showed 'all the symptoms typical for prolonged exposure to psychological torture,' adding that 'what we have seen from the UK Government is outright contempt for Mr Assange's rights and integrity.'
www.ohchr.org/en/press-releases/2019/11/un-expert-torture...
The United States wants to extradite Julian Assange to the United States on a supposed charge of espionage. However, Assange's real crime is that he revealed US and Western war crimes in Afghanistan, Iraq and elsewhere. As the founder and chief editor of Wikileaks he has provoked Washington's fury by the publication of US Army intelligence files leaked by Chelsea Manning in 2010 as well as subsequent revelations which have embarrassed the American establishment, including Democratic Party emails which showed how senior officials in the party's national committee favoured Hilary Clinton over the more progressive and radical Bernie Sanders.
Former Home Secretary Priti Patel signed off on the extradition request earlier in the year, but that order is currently being appealed by Assange's lawyers, who are awaiting a decision by the High Court on whether they will agree to hear it.
As far as I understand it, the remit of the appeal has been restricted to examining the United States' claimed legal promises on how Assange will be treated, rather than to the wider issues of freedom of speech, the CIA plot to assassinate him, the extent to which the evidence against him has obviously been fabricated or as to whether his treatment in Belmarsh Prison has amounted to torture.
The former Labour Party leader, Jeremy Corbyn, attended Saturday's protest, as did the former leader of Unite, Len McLuskey, the independent (former Labour Party MP) Claudia Webbe, the comedian and actor Russel Brand and Mr Assange's wife, Stella. According to the Morning Star and the Evening Standard, Corbyn said
"I would say to MPs of any party, you're there to represent democracy and rights. That's what you sign up for. If Julian Assange is extradited, it will set forth fear among other journalists of doing anything to expose the truth. It becomes self-censorship of journalists all around the world. They'll say, 'hang, on, I'm not touching that, look what happened to Julian Assange.'"
morningstaronline.co.uk/article/b/thousands-gather-human-...
www.standard.co.uk/news/london/russell-brand-julian-assan...
If Assange is convicted in the United States on the charges of espionage for exposing US war crimes in Afghanistan and Iraq as well as other wrongdoing by the United States and other governments, he faces up to 175 years in prison. Two days after the protest, it was reported that Assange had contracted covid.
Pennhurst Asylum
Spring City, PA
May 25th, 2014
I got to hang out with the awesome people of the Pennhurst Paranormal Association for 5 hours that was filled with paranormal stories, history and lots and lots of photography. And insane amount of photos to follow over the next few weeks. Stay tuned!
Some History of the place:
"Pennhurst was constructed and opened in 1908 as a state school for the mentally and physically disabled. Pennhurst's property was vast, covering 120 acres. Created to house over 10,000 patients at a point in time, Pennhurst was one of the largest institutions of its kind in Pennsylvania. Half of Pennhurst's residents were committed by court order and the other half were brought by a parent or other guardian. It was devoted strictly to the care, treatment and education of the disabled. Originally named Pennhurst Home for the Feeble Minded and Epileptic, it finally was just called Pennhurst State School. Pennhurst employed a large number of staff to help assist in maintaining the facility. This staff included a board of trustees, medical staff, dental staff, and specialists in psychology, social services, accounting, and various fields of education. The grounds of Pennhurst included a 300-bed hospital, which had a full nursing staff and two surgeons on call at all times. Others at Pennhurst included members of the clergy and farming experts who grew most of Pennhurst's food . Pennhurst was an essentially self-sufficient community, its 1,400-acre site containing a firehouse, general store, barber shop, movie theatre, auditorium and even a greenhouse. The buildings of Pennhurst were named after towns in Pennsylvania such as Chester and Devon. The original buildings were designed by architect Phillip H. Johnson. All of Pennhurst's electricity was generated by an on-site power plant. A cemetery lay on the property, as well as baseball and recreational fields for the residents. Many of Pennhurst's buildings were strictly for storage; however, the majority were dormitory and hospital-style living quarters for the residents. Many of the buildings had security screens that were accessed on the inside, to prevent patients from escaping, or jumping to their deaths. Most of the stairwells had security fences to keep patients from jumping over the railings. Many of the buildings are linked by an underground tunnel system designed for transportation of handicapped patients to and from the dormitory, recreational buildings and dietary.
Pennhurst was often accused of dehuminazitation and was said to have provided no help to the mentally challenged. The institution had a long history of staff difficulties and negative public image, for example, a 1968 report by NBC called "Suffer the Little Children". Pennhurst State School was closed in 1986 following several allegations of abuse. These allegations led to the first lawsuit of its kind in the United States, Pennhurst State School and Hospital vs. Halderman, which asserted that the mentally retarded have a constitutional right to living quarters and an education. Terry Lee Halderman had been a resident of the school, and upon release she filed suit in the district court on behalf of herself and all other residents of Pennhurst. The complaint alleged that conditions at Pennhurst were unsanitary, inhumane and dangerous, that these living conditions violated the fourteenth amendment, and that Pennhurst used cruel and unusual punishment in violation of the eighth and fourteenth amendments. After a 32-day trial and an immense investigation, prosecutors concluded that the conditions at Pennhurst were not only dangerous, with physical and mental abuse of its patients, but also inadequate for the care and habilitation for the mentally retarded. The Commonwealth of Pennsylvania also concluded that the physical, mental, and intellectual skills of most patients had deteriorated while in Pennhurst.
In 1986, Pennhurst was ordered closed, and began a program of de-institutionalism that lasted several years. Once the buildings were closed, they began to rapidly deteriorate from lack of heating, moisture invasion and vandalism. Thousands of people began to illegally tour the property spray painting everything in sight and breaking all the glass in the place. Theft was rampant and the destruction of the property was in full swing. Patients were thrown out and a large homeless contingent developed in the area.
Pennhurst fell into complete ruin as the complex was shut down. Buildings were abandoned as they were, with patient’s clothes and belonging strewn about. Furniture, cabinets and medical equipment were left to decay as if someone had just got up and walked out the front door. This is the place that will eventually resurrect into one of the most studied properties in the ghost hunter media, and will become an amazing haunted attraction."
SOURCE: SOURCE: www.pennhurstasylum.com/index2.html#/history
For more info on photo tours and scheduling a paranormal investigation, contact Melissa at mjd.pennhurstpara@gmail.com
July 20th. Family is everything. I thought we'd do a family shot for the last pic in the theme of 'commit'. This is the first ever family jofolo pic on Flickr (and Ipernity) and also the first Mr jofolo shot. I should do more of these for the family album - they grow up so fast. It's hard to believe our eldest is now 15. We found out I was pregnant with her very early in our non married life, but you know when something is right. It was the push we both needed to settle. The next two followed very quickly and then we managed to get married before number four made her appearance. My lovely hubby and the kids (and the house, garden, and the dogs and cats and guinea pigs and frogs) are the biggest commitment I have ever made. And I love it!
Oh and after the serious shot we did the zombie shot in comments!
i have also chosen this as my weekly shot for the non themed 52s. week 29
Mais um livro novo: Committed - em português - Comprometida. Mesma autora de Comer, Amar e Rezar. (Bem mulherzinha, eu sei). Mais meu controle remote que chegou ontem. Já foi testado e aprovado! :)
Mais uma foto nos comentários!!!
____________________
Books in Control
Another new book: Committed. Ok, very girly, I know! Also, my remote control that has arrived yesterday. I've tested and approved! So cool! :)
One more photo in the comments!!!
Committed to Lomography Babylon using a Leica M3 and 50 mm Summicron dual-range lens. Developed using Ars-Imago R9 (rodinal) 1:99 in a semi-stand process for 80 minutes and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
British postcard.
Demi Moore (1962) is an American actress and film producer who had her breakthrough with the Bratpack film St. Elmo's Fire (1985). By 1995 Moore was the highest-paid actress in Hollywood thanks to such blockbusters as Ghost (1990), A Few Good Men (1992) and Indecent Proposal (1993).
Demi Moore was born Demi Gene Guynes in Roswell, New Mexico in 1962. Her father, Air Force airman Charles Harmon, left her then 18-year-old mother Victoria (née King) after a two-month marriage and before Demi was born. When Demi Moore was three months old, her mother married Dan Guynes, a newspaper salesman, who she later saw as her real father. The family moved frequently because of her stepfather's work, more than thirty times. Her stepfather committed suicide when Demi was fifteen, two years after divorcing her mother. A year later she dropped out of school. Her mother, Virginia Guynes, was arrested many times, including for arson and drunk driving. Moore broke off contact with her in 1990 but later reconciled with her shortly before she died of cancer in 1998 at the age of 54. In 1979, three months before her 17th birthday, Demi met the rock musician Freddy Moore and they married in 1980. The marriage lasted four years. Moore signed with the Elite Modeling Agency and then enrolled in drama classes after being inspired by her next-door neighbour, 17-year-old German actress Nastassja Kinski. She appeared on the cover of the January 1981 issue of the French adult magazine Oui, taken from a photo session in which she had posed nude, and made her film debut with a brief role in the teen drama Choices (Silvio Narizzano, 1981). In 1982, she played an investigative reporter in the hospital soap General Hospital (1982-1983). She celebrated her first cinema success in the romantic comedy Blame it on Rio (Stanley Donen, 1983) opposite Michael Caine. Around the same time, she became addicted to cocaine. Her big break came with the film St. Elmo's Fire (Joel Schumacher, 1985) with Rob Lowe and Emilio Estevez, to whom she was engaged for three years. Reportedly, she was fired by Schumacher during filming because of her drug abuse, after which she went to rehab and returned a week later. Interestingly, her character in the film, Jules, was also addicted to cocaine. The film was a huge success, and Moore and her film counterparts were counted among the 'Brat Pack', a group of young actors with a promising future. Moore progressed to more serious material with the romantic comedy About Last Night... (Edward Zwick, 1986), co-starring Rob Lowe, which marked a positive turning point in her career. In 1987, she became even more famous when she married actor Bruce Willis.
In 1990, Demi Moore co-starred with Patrick Swayze and Whoopi Goldberg in the highly successful fantasy Ghost (Jerry Zucker, 1990), for which she received a Golden Globe nomination. The love scene between Moore and Patrick Swayze that starts in front of a potter's wheel to the sound of 'Unchained Melody became an iconic moment in film history and the film grossed over US$505 million at the box office. 'The highest-grossing film of that year' earned her a spot on the A-list and offered her many leading roles in films. The following year, she received a great deal of media attention when she appeared naked on the front page of Vanity Fair magazine while seven months pregnant. The front page was frequently imitated and parodied in the years that followed. The next year, she starred in the blockbuster A Few Good Men with (Rob Reiner, 1992), opposite Tom Cruise and Jack Nicholson. The following year, she scored another big film hit with the controversial Indecent Proposal (Adrian Lyne, 1993). In this film, a rich businessman (Robert Redford) presents a couple with financial problems (Moore and Woody Harrelson) with a dilemma: he gives the couple a million dollars if he can sleep with the woman. Another blockbuster was the thriller Disclosure (Barry Levinson, 1994) with Michael Douglas. Moore produced and starred in a controversial miniseries for HBO called If These Walls Could Talk (1996), a three-part anthology about abortion alongside Sissy Spacek and Cher. Its screenwriter, Nancy Savoca, directed two segments, including one in which Moore played a widowed nurse in the early 1950s seeking a back-alley abortion. For that role, Moore received a second Golden Globe nomination as Best Actress. At the time, Demi Moore was one of the highest-paid film actresses of all time, and she was the first actress to receive more than $10 million for a film role - $12.5 million for Striptease (Andrew Bergman, 1996).
Demi Moore did not manage to keep up the success. Striptease (Andrew Bergman, 1996) opened to overwhelmingly negative reviews with Moore's performance being criticised and 'won' six Golden Raspberry Awards, including for worst film, worst actress and worst director. However, it was a moderate financial success, grossing US$113 million worldwide Moore also starred in the thriller The Juror (Brian Gibson, 1996). It was a box office bomb and was heavily panned by critics. Two successes at the time was as the voice of the gypsy woman Esmeralda in Disney's animated film The Hunchback of Notre Dame (Kirk Wise, Gary Trousdale, 1996) and the voice of Dallas Grimes in the animated comedy Beavis and Butt-head Do America (Mike Judge, 1996), alongside her then-husband Bruce Willis. When her long-cherished project G.I. Jane (Ridley Scott, 1997), for which the actress even shaved her head, turned out to be another flop, Demi Moore took a break in her acting career. As a producer, she did have a few successes with the three Austin Powers films, including Austin Powers: International Man of Mystery (Jay Roach, 1997). Moore and Willis separated in 1998 and divorced in 2000. Together with Bruce Willis, she has three children: Rumer Glen Willis (born 1988), Scout LaRue Willis (1991) and Tallulah Belle Willis (1994). In 2003, she had a much-discussed relationship with the sixteen-year-younger actor Ashton Kutcher, whom she married in 2005. That same year, she returned to the big screen by playing the villain in the sequel Charlie's Angels: Full Throttle (McG, 2005), starring Cameron Diaz, Drew Barrymore and Lucy Liu. Since 2006, Demi has been the face and muse of cosmetics brand Helena Rubinstein. On-screen she could be seen in the ensemble cast of the drama Bobby (Emilio Estevez, 2006) and the drama Margin Call (J. C. Chandor, 2011) with Kevin Spacey. Moore and Kutcher split in 2011 and their divorce was finalised in 2013. Incidentally, she appeared in films such as the black comedy Rough Night/Girls' Night Out (Lucia Aniello, 2017) starring Scarlett Johansson. In 2019, Moore released her book 'Inside Out' about her life, which reached the top spot on the New York Times Bestseller list. Since early 2022, Demi Moore has been in a relationship with Swiss celebrity chef Daniel Humm (46).
Sources: Wikipedia (Dutch, English and German), and IMDb.
And, please check out our blog European Film Star Postcards.