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BT ArtBox project celebrating 25 years of Childline
ArtBox Title: Connected
Artist: David Crow
Location: Broadgate Finsbury Ave Square
Open-air art exhibition across London - Summer 2012
• BT marked 25th anniversary of ChildLine with launch of open-air art exhibition in London
• BT ArtBox project saw leading artists, designers and creatives transform full-size replicas of iconic Gilbert Scott–designed red telephone box into stunning artworks
• Throughout June and July 2012, BT ArtBoxes were on display in high-profile locations across the capital
• The National Portrait Gallery hosted a gala auction on July 18 where the ArtBoxes were auctioned to raise money for ChildLine
To celebrate the 25th anniversary of ChildLine, BT announced the launch of the BT ArtBox project – a new public art exhibition set to take over the capital Summer 2012.
Leading artists, designers and creatives from around the world were invited to apply their individual talents to re-style that much-loved icon of British design, the traditional red telephone box.
Each artist or designer took delivery of a full-size, fibre-glass replica of the Sir Giles Gilbert Scott-designed original K6 telephone kiosk, which was introduced in 1936 to commemorate the Silver Jubilee of the coronation of King George V.
Participating artists included 2002 Turner prize winner Keith Tyson, Romero Britto and Royal Academician Professor of Sculpture David Mach, along with fashion designers Giles Deacon and Zandra Rhodes.
The BT ArtBoxes were on display in high-profile locations around the capital between June 18 and July 16 before being auctioned off at a VIP Gala Auction at the National Portrait Gallery on July 18 to raise funds for BT’s long-time partner ChildLine.
Esther Rantzen OBE, founder of ChildLine and patron of the BT ArtBox project, said: “I’m thrilled that ChildLine’s 25th birthday is to be celebrated by such a unique and inspiring project as BT Artbox.
“The red phone box is a much loved symbol of British culture and I’m keen to see how the artists involved will create new masterpieces from such an iconic canvas. It’s fantastic that the proceeds from the sale of the boxes will raise vital funds to support the work of ChildLine, enabling us to help many more children and young people to get comfort, advice and protection when they need it most.”
Sandy Nairne, director of the National Portrait Gallery and patron of the BT ArtBox project, said: “The Gilbert Scott telephone box is a truly iconic British design, and I’m looking forwards to seeing how artists and designers transform the replica boxes into works of art on London’s streets.”
David Mach, said: “It’s great to be involved with the ArtBox Exhibition. I get to kill more than two birds with one stone...work with a great charity (hopefully make money for it) and a classic British design. I love all things Gilbert Scott. Anything that encourages us to get his design back on our streets does it for me”.
Suzi Williams, director of BT Group Marketing and Brand, said: “BT has a history of supporting British cultural initiatives and 2012 is no exception. What better way to celebrate ChildLine's 25th anniversary than transforming replicas of the classic red phone box into a public art exhibition that can be enjoyed by all in the build-up to the Games this summer."
Martine Ainsworth-Wells, London & Partners, Marketing and Communications director, said:
“London & Partners is excited to support BT ArtBox in the run up to London 2012. BT ArtBox will bring some of the UK’s finest artistic talents to London’s streets, adding a new creative dimension to the capital at such an important time in its history.”
Artists and creatives who were interested in designing an ArtBox visited btartbox.com for more information about how to get involved.
The BT ArtBox project was supported by the Mayor of London, Professor Malcolm Garrett RDI, London & Partners, The May Fair Hotel, Harvey Nichols, The Times and The Sunday Times and borough councils across the capital.
Images of Malcolm Garrett, Interaction Designer, Sandy Nairne, Director of the National Portrait Gallery, David Mach RA, Sculptor, Esther Rantzen, founder of ChildLine and Lauren O'Farrell, Artist at the launch of the BT ArtBox project at the St Pancras Renaissance Hotel, central London today are available at:
imagelibrary.btplc.com/assetbank-btplc/action/browseItems...
Top 10 facts about the K6 red phone box
1. Kiosk number 6 or “Jubilee Kiosk” commemorates the Silver Jubilee of the coronation of King George V.
2. Sir Giles Gilbert Scott also designed Liverpool’s Anglican Cathedral, Battersea Power Station and Bankside Power Station now Tate Modern.
3. More than 1,600 decommissioned red phone boxes, mostly K6s, have been sold to local communities for just a £1 under BT’s Adopt a Kiosk scheme. Uses include being fitted with lifesaving defibrillation machines, turned into art galleries and public libraries.
4. The K6 was the first kiosk installed nationwide and the standard kiosk across the UK until the introduction of the K8 in 1968.
5. The K6 kiosk is made from cast iron with a teak door. It is 8’3” tall (2.4 metres) and weighs three quarters of a ton (762 kilograms).
6. The K6 design was approved by the Post Office and the Royal Fine Arts Commission, which endorsed “Post Office red” as the standard colour.
7. Although Scott agreed to the use of “Post Office red” he was never a supporter of the colour and initially suggested the outside of the kiosk be painted silver and the inside greenish-blue. He strongly urged rural kiosks be painted dove-grey.
8. Two K6 kiosks were installed in France during 1995, for the 50th anniversary of the D-Day landings.
9. Several red K6’s have been transformed into combined payphones and cash machines.
10.There are 11,000 red phone boxes in use in the UK.
About ChildLine
ChildLine on 0800 1111 and www.childline.org.uk is the UK’s only free, 24-hour helpline for children in danger or distress. Trained volunteer counsellors comfort, advice and protect children and young people. ChildLine is a service within the NSPCC. In Scotland it is delivered by CHILDREN 1ST on behalf of the NSPCC. Calls to ChildLine on 0800 1111 are confidential, but if a child is in immediate danger the counsellor will let the caller know if they have to break confidentially and contact the emergency services to save the child’s life.
Every £20 raised could help ChildLine answer another five calls from children who dial our helpline. If you are worried about a child or would like to make a donation, please visit the NSPCC website www.nspcc.org.uk
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Live, Believe & Dream! See You There!
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Along the South Bank of the River Thames, London, England, UK
Crypto Connection
Federico Clapis
Powered by Eidoo
"With this large bronze piece, the artist represents the profound prenatal bond between mother and son and anticipates the arrival of a hyper-connected generation, one whose synapses are genetically attached to a vast network and whose eyes will witness a constantly evolving reality.
What we perceive in the contemporary as a transient period, will be customary for the infants of tomorrow. This future generation will be living a world where knowledge, relationships and even the economy will be lightened by the paradigms of the past but will vitally remain encrypted to those who will, sadly, fall behind. A crypto dimension to the concept of natural selection."
See also www.prnewswire.com/news-releases/london-becomes-home-to-w...
DOT Art partnered with DOT Public Space and the Chinatown Partnership to present an asphalt art mural as part of the 2019 Seasonal Street along Doyers Street between Pell Street and Bowery in Chinatown, Manhattan. Titled, “Connected Stories,” by Dan Monteavaro (Moncho 1929), the intertwined shapes and colors were designed to represent inclusion of visitors and residents within the surrounding community. “Connected Stories” was the second iteration of asphalt art as part of the Doyers Street Seasonal Street.
DOT Public Space works with community partners to produce Seasonal Streets, which temporarily transform streets into vibrant public space and feature movable furniture, programming and other amenities.
DOT Art Program, Asphalt Art Activation (2019)
In partnership with DOT Public Space, Chinatown Partnership and Dan Monteavaro
Connected Stories by Dan Monteavaro (Moncho1929)
Doyers Street between Pell Street and Bowery Street, Manhattan
Participants at the World Economic Forum on Latin America 2017 in Buenos Aires, Argentina. Copyright by World Economic Forum / Benedikt von Loebell
i bought this ring from my most talented friend from across the globe.
he made it. i love it. thank you less.
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India. About 175 kilometres southeast of Jhansi, they are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 950 and 1050 CE by the Chandela dynasty. Historical records note that Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.
The Khajuraho group of temples were built together but were dedicated to two religions namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.
LOCATION
Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur District, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).
Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai. The site is also linked by Indian Railways service, with the railway station approximately six kilometer from the monuments entrance.
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.
HISTORY
The Khajuraho group of monuments were built during the rule of Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign.:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with few more temples completed in decades thereafter.
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of Chandela dynasty, in Kalinjar region. In ancient and medieval literature, their kingdom has been called Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.
Khajuraho were mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.
NOMENCLATURE
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
DESCRIPTION
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.
All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.
Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rise
s 116 feet.
Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
ARCHITECTURE OF THE TEMPLES
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.
Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.
CONSTRUCTION
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.
CHRONOLOGY
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandarya Mahadeva temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
TEMPLE NAME - DEITY - YEAR COMPLETED
Chausath Yogini - Devi, 64 Yoginis - 885
Brahma - Vishnu - 925
Lalgun Mahadev - Shiva - 900
Matangeshwar - Shiva - 1000
Varaha - Vishnu - 950
Lakshmana - Vaikuntha Vishnu - 939
Parshvanath - Parshvanath - 954
Visvanatha - Shiva - 999
Devi Jagadambi - Devi, Parvati - 1023
Chitragupta - Sun, Chitragupta - 1023
Kandariya Mahadeva - Shiva - 1029
Vamana - Vamana - 1062
Adinath Jain Temple - Rishabha - 1027
Javeri - Vishnu - 1090
Chaturbhuja - Vishnu - 1110
Duladeo (Duladeva) - Shiva - 1125
Ghantai - Jain Tirthankara - 960
Vishnu-Garuda - Vishnu - 1000
Ganesha - Shiva - 1000
Hanuman - Hanuman - 922
Mahishasuramardini - Devi - 995
ARTS AND SCULPTURE
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles . . Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
The temples have several thousand statues and art works, with Kandarya Mahadeva temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.
TOURISM AND CULTURAL EVENTS
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.
The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
WIKIPEDIA
The walls here are covered with an array of fascinating switches and circuitry which ruled over the system's turbines, air pressure and electrical output. From the various ammeters and voltmeters on the displays, all connected to various ring mains at varying voltages, through to the individual control units for each of the GEC compressors, the former operations centre clearly controlled a huge amount of industrial power.
Sao Paulo - 04ago15 - O evento Smart Connected Cities, realizado pela Sator, abre espaço para apresentacao e discussao de tecnologias e sistemas desenvolvidos para a melhoria da qualidade de vida em centros urbanos. O primeiro painel sobre saude e educacao contou com a presenca deRodolfo Joaquim Pinto da Luz, Secretario de Educacao de Florianopolis, Alvaro Cruz, da QMagico, Andre Barrence da Geekie, Ana Pessoa da Pearson Education, e Ademar Bueno da FGV.
0007 R Jablanac kupio VT Foto. I. Prekalj C 4977 Fotolik Celje
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Jablanac is a village in Lika-Senj County, Croatia, located on the Adriatic Sea underneath the Velebit mountain, overlooking the island of Rab. The village used to have a ferry port that connected it to Rab, but that moved up the coast to Stinica in July 2012. The population of Jablanac is 83 (2011) and it is located in the municipality of Senj (which lies to the north).
The village has a Post Office, 2 hotels (Ablana, which currently is closed, and Lux), 1 harbour front cafe (Ruža), 1 harbour front restaurant (Lux) and a street cafe/diner (Oaza). There is 1 small supermarket (Porat, currently closed) and a Harbourmaster's office. The nearest Mini-markets are in Stinica. The village also boasts the lowest mountaineering hut in the whole of Europe which, at 20 m above sea level, overlooks where the ferry used to dock. There is a newspaper kiosk and a fruit stall. Bread vans visit the village most days.
Local attractions include Zavratnica inlet where you can see a sunken military ferry wreck from WW2 and stunning scenery. Nearby is the Velebit mountain and the Northern Velebit National Park.
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I had some ideas for this concept, but never the time to shoot them. Today the new lens get here, can't wait to see what they can do
Lucius Cary, 2nd Viscount Falkland (c. 1610 – 20 September 1643) was an English author and politician who sat in the House of Commons from 1640 to 1642. He fought on the Royalist side in the English Civil War and was killed in action at the First Battle of Newbury.
Contents [hide]
1Early life
2Great Tew circle
3Political and military career
4Death
5Works
6Assessment
7References
8Further reading
Early life[edit]
Cary was born at Burford in either 1609 or 1610 as the son of Sir Henry Cary, afterwards first Viscount Falkland, and his wife Elizabeth, whose father Sir Lawrence Tanfield was at that time Lord Chief Baron of the Exchequer. Henry Cary, a member of an ancient Devon family, was lord deputy of Ireland from 1622 to 1629. He was made Viscount Falkland and Lord Cary in 1620. His viscountcy, Falkland, was a royal burgh in Scotland, notwithstanding that the Carys were an English family and had no connection with the burgh, though letters patent were later issued naturalising the Viscount and his successors as Scottish subjects.[2]
In 1621 Lucius was admitted to St John's College, Cambridge but in the following year he migrated to Trinity College, Dublin, where he graduated BA in 1625.[3] In 1625 he inherited from his grandfather the manors of Great Tew and Burford in Oxfordshire, and, about the age of 21, married Lettice, daughter of Sir Richard Moryson, of Tooley Park in Leicestershire. Following a quarrel with his father, whom he failed to propitiate by offering to hand over to him his estate, he left England to take service in the Dutch army, but soon returned. In 1633, by the death of his father, he became Viscount Falkland. His mother had embraced Roman Catholicism, to which it was now sought to attract Falkland himself, but his studies and reflections led him, under the influence of William Chillingworth, to the interpretation of religious problems rather by reason than by tradition or authority.
In 1634, he sold Burford Priory to William Lenthall.
Great Tew circle[edit]
For more details on this topic, see Great Tew Circle.
At Great Tew he enjoyed a short but happy period of study, and he assembled a cultured circle, whom the near neighbourhood of the university and his own brilliant qualities attracted to his house. He was the friend of John Hales and Chillingworth, was celebrated by Ben Jonson, John Suckling, Abraham Cowley and Edmund Waller in verse, and in prose by Edward Hyde, 1st Earl of Clarendon, who calls him the "incomparable" Falkland, and draws a delightful picture of his society and hospitality.
Political and military career[edit]
Engraving depicting Lord Falkland, based on a portrait by Cornelis Janssens van Ceulen.
Falkland's intellectual pleasures, however, were soon interrupted by war and politics. He felt it his duty to take part on the side of King Charles I as a volunteer under Robert Devereux, 3rd Earl of Essex in the Bishops' Wars of 1639 against the Scots. In 1640 he was elected Member of Parliament for Newport in the Isle of Wight to the Short Parliament. He was re-elected for Newport for the Long Parliament in November 1640,[4] and took an active part on the side of the opposition. He spoke against the exaction of ship money on 7 December 1640, denouncing the servile conduct of Lord Keeper Finch and the judges.
Mural monument to Lucius Carey, 2nd Viscount Falkland, erected 1885, south chancel wall, Church of St Michael & All Angels, Great Tew. The arms are quarterly 1 & 4: Cary; 2: Spencer of Spencercombe, Crediton, Devon; 3: Beaufort
He supported the prosecution of Thomas Wentworth, Earl of Strafford, at the same time trying more than once to moderate the measures of the House of Commons in the interests of justice, and voted for the third reading of the attainder on 21 April 1641. On the question of the church he urged, in the debate of 8 February 1641, that the interference of the clergy in secular matters, the encroachments in jurisdiction of the spiritual courts, and the imposition by authority of unnecessary ceremonies, should be prohibited. On the other hand, though he denied that episcopacy existed jure divino, he was opposed to its abolition; fearing the establishment of the Presbyterian system, which in Scotland had proved equally tyrannical. Triennial parliaments would be sufficient to control the bishops, if they meditated any further attacks upon the national liberties, and he urged that "where it is not necessary to change, it is necessary not to change". (This was probably said in reply to Hampden during the Root and Branch Bill debate that happened later.) Even Hampden still believed that a compromise with the episcopal principle was possible, and assured Falkland that if the bill taken up to the House of Lords on 1 May 1641, excluding the bishops from the Lords and the clergy from secular offices, were passed, "there would be nothing more attempted to the prejudice of the church". Accordingly, the bill was supported by Falkland.
Monument to Lucius Cary in Newbury
The times, however, were not favourable to compromise. The bill was lost in the Lords, and on 27 May the Root and Branch Bill, for the total abolition of episcopacy, was introduced in the House of Commons. This measure Falkland opposed, as well as the second bill for excluding the bishops, introduced on 21 October 1641. In the discussion on the Grand Remonstrance he took the part of the bishops and the Arminians. He was now opposed to the whole policy of the opposition, and, being reproached by John Hampden with his change of attitude, replied "that he had formerly been persuaded by that worthy gentleman to believe many things which he had since found to be untrue, and therefore he had changed his opinion in many particulars as well as to things as to persons".
On 1 January 1642, immediately before the attempted arrest of the five members, of which, however, Falkland was unaware, the King offered him the secretaryship of state, and Hyde persuaded him to accept it. Falkland thus became involved directly in the king's policy, though evidently possessing little influence in his counsels. He was one of the peers who signed the protestation against making war, at York on 15 June 1642. On 5 September 1642 he carried Charles's overtures for peace to the parliament, when he informed the leaders of the opposition that the king consented to a thorough reformation of religion. The secret correspondence connected with the Waller plot passed through his hands.
Falkland fought for the king at the Battle of Edgehill (23 October 1642) and at the siege of Gloucester. By this time the hopelessness of the situation had completely overwhelmed him. The aims and principles of neither party in the conflict could satisfy a man of Falkland's high ideals and intellectual vision. His royalism could not suffer the substitution, as the controlling power in the state, of a parliament for the monarchy, nor his conservatism the revolutionary changes in church and state now insisted upon by the opposite faction. The fatal character and policy of the king, the most incapable of men and yet the man upon whom all depended, must have been by now thoroughly understood by Falkland. Compromise had long been out of the question. The victory of either side could only bring misery; and the prolongation of the war was a prospect equally unhappy.
Falkland's ideals and hopes were now destroyed, and he had no definite political convictions such as inspired and strengthened Strafford and John Pym. In fact his sensitive nature shrank from contact with the practical politics of the day and prevented his rise to the place of a leader or a statesman. Clarendon has recorded his final relapse into despair:
Sitting amongst his friends, often, after a deep silence and frequent sighs (he) would with a shrill and sad accent ingeminate the word "Peace, Peace," and would passionately profess that the very agony of the war, and the view of the calamities and desolation the kingdom did and must endure, took his sleep from him and would shortly break his heart.
At Gloucester he had in vain exposed himself to risks. On the morning of the First Battle of Newbury, on 20 September 1643, he declared to his friends, who would have dissuaded him from taking part in the fight, that "he was weary of the times and foresaw much misery to his own Country and did believe he should be out of it ere night." He served during the engagement as a volunteer under Sir John Byron and, riding alone at a gap in a hedge commanded by the enemy's fire, was immediately killed.
His body was stripped and left until recognised by a servant, who took his body back to Great Tew, where he was buried in an unmarked grave in the village churchyard.
Death[edit]
Sculpture of Lucius Cary in front of the grave of his grandparents in the Church of St John the Baptist, Burford
His death took place at the age of 33. He was succeeded in the title by his eldest son Lucius, 3rd Viscount Falkland, his male descent becoming extinct in the person of Anthony, 5th viscount, in 1694, when the viscounty passed to Lucius Henry (1687–1730), a descendant of the first viscount and his direct descendants.
Works[edit]
Falkland wrote a Discourse of Infallibility,[5] published in 1646 (Thomason Tracts, E 361), reprinted in 1650, in 1651 (E 634) edited by Triplet with replies, and in 1660 with the addition of two discourses on episcopacy by Falkland. This is a work of some importance in theological controversy, the general argument being that "to those who follow their reason in the interpretation of the Scriptures God will either give his grace for assistance to find the truth or his pardon if they miss it. And then this supposed necessity of an infallible guide (with the supposed damnation for the want of it) fall together to the ground." Also A Letter ... 30 Sept. 1642 concerning the late conflict before Worcester (1642); and Poems, in which he shows himself a follower of Ben Jonson, edited by A. B. Grosart in Miscellanies of the Fuller Worthies Library, vol. iii. (f 871).
John Aubrey attributed to Falkland the title "the first Socinian in England" but later gave that title to John Hales.
Also attributed to Falkland is the dictum, "When it is not necessary to make a decision, it is necessary not to make a decision."
Assessment[edit]
According to Clarendon, he was
in no degree attractive or promising. His stature was low and smaller than most men; his motion not graceful ... but that little person and small stature was quickly found to contain a great heart ... all mankind could not but admire and love him.
Falkland is notable not for his writings or political career, but his intellectual position, his isolation from his contemporaries seeking reformation in the inward and spiritual life of the church and state and not in its outward and material form, and as a leader of rationalism in an age dominated by intolerance and dogmatism.
Source: Wikipedia
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