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from JRhoan (check my contacts)
About Yosemite Indians
Basic Facts
The Yosemite Valley Plan was recently approved and is in full swing within the boundaries of Yosemite National Park. The first of many projects centered within the Lower Yosemite Falls area has begun in one of the most heavily visited areas of the park. The National Park Service(NPS)who has promised to preserve the environment, history,and culture within the boundaries of the park has failed miserably at keeping their promise to the indigenous people of the Yosemite Valley.
Oral history tells us that the Yosemite Indians have been indigenous to Yosemite National Park since the beginning of time. Written history as well archaeological recovery data places the people in the parameter of Yosemite as early as 500 B.C. The NPS now claims this information is incorrect and is systematically trying to erase the oral history by replacing it with new data, which suggests the Yosemite Indians are extinct and that the last of them died due to plague brought on in the 1800's. Under the direction of Kathleen Hull PH.D.,Anthropologist(U.C.Berkley), the written history is being changed to fit the needs of the NPS. "
Though the NPS claims the Yosemite Indians have been wiped out,in a 1997 Memorandum of Understanding(MOU), the NPS has allowed remnants of this group to gather traditional native plants which include bracken fern as well as mushrooms. Now, they are removing these areas of traditional significance to make way for progress under the Yosemite Valley Plan, violating any and all agreements they made with the indigenous people of this area.
In the first project initiated by the National Park Service called "The Lower Yosemite Falls Corridor Project" so many losses to Indian culture as well as the environment will occur. Why? The National Park Service hides behind "enhancing the visitor experience" with a Disneyland atmosphere. Some of the main points not all of this project are listed below:
The Lower Falls project is located in an area once inhabited by Chief Ten-ie-ya, had one of the largest villages (Koom-I-Nee) which is under the area of question.The village is approximately 3 miles in length and is scheduled for total removal of obliteration. In previous archaeological discoveries(and on more than one occasion) the unearthing of human remins have been found in this area. These remains have been determined to be American Indian. The NPS denies that such remains exist even though Kathleen Hull, Anthropologist, has documented discoveries. Along with this , other discoveries have been found such as tools,obsidian flake, and beads used by Indians in the past.
This area also encompasses 56 sensitive acres of braided stream, black oak, and helimushrroms that cannot be reforested in other areas. These items are important traditional plant use.
Although awash in flood recovery money, the NPS allowed the Lower Falls area to degrade purposely to create a sense of urgency so they could begin this plan under a guise of a "Restoration Plan". This plan is far from a restoration plan-it is a total obliteration plan to American Indian history, native plants animal populations as well as sensitive ecosystems.
Widening and Adding Pathways: These pathways are actually being routed through untouched areas that contain rare bat roosting areas as well as sensitive ecosystems; also an ancient undisturbed archaeological site determined to belong to the Indians of the valley.
Disrupting,Degrading and Destroying History, Culture and Ethnographic areas belonging to the Yosemite Indian: Plans to create new trails through these areas in order to provide the visitor with a more urban landscape comes first instead of protecting Indian culture as outlined in a 1997 MOU.
The NPS has hidden the true devastation by shuffling the impacts:
Bridges: Six new bridges have been added which will prevent natural stream meandering.
A new bathroom constructed in a sensitive archaeological area that requires protection. This area will suffer because of the digging of new sewer lines when in reality the old lines can be replaced.
It is a total and absolute falsehood that the Yosemite Indians (the NPS, who have indicated don't exist) have agreed with the NPS plans to install this bathroom in this location even though at every opportunity the NPS claims this is true and precise information.
By relocating the shuttle bus stop you now spread visitors (as well as impacts) to again trample sensitive gathering areas, also impact historic, ancient and prehistoric sites, which have been well documented. The new shuttle stop will be located to allow passengers to disembark directly in front of sensitive gathering areas.
The Yosemite Valley Plan calls for allowing natural processes to revail yet this plan constrains hydrology and in turn upsets sensitive ecosystems continuity.
Today, this project is on the fast track to completion with the public remaining mostly clueless to the actual impacts that this plan will bring about. This plan does nothing but degrade,desecrate,and fails to enhance the natural beauty and pristine wilderness areas along with the long history of Indian occupation which is soon to be lost to bulldozers and $12,500,000 dollars donated by corporations such as Chevron Texaco. True Indian history will be removed from this area and replaced by fabricated NPS lies that accommodate only the Federal Government's quest to carry on their tradition of Indian Removal and Extermination
Better Brothers Los Angeles teamed up with the Diva Foundation at the historic Wilshire Ebel Theater in Los Angeles.
The event is sponsored by Gilead, AIDS Healthcare Foundation, and the generous support of businessman and activist Gerard McCallum.
The Truth Awards will benefit the DIVA Foundation and its partnership with Better Brothers LA with several initiatives aimed at affirming and strengthening the African American LGBTQ community educationally, financially, physically and socially. Proceeds will also benefit the Better Brothers LA Book Scholarship and other programming needs of the organization. For more information about the organization and its scholarship program
ABOUT BETTER BROTHERS LOS ANGELES
Better Brothers Los Angeles was created to provide spaces for Black gay men to network, socialize and be BETTER – at life, love and community. Developing a sense of community has been a challenge for some Black gay men, given the cultural and religious opposition to their sexual orientation. As those challenges have receded in mainstream society, they still present significant difficulties and constrain a sense of well-being for Black gay men within the Black community. Better Brothers Los Angeles has sponsored cultural, recreational, and social/networking events, and continues to create a community where Black gay men and women can walk with a greater sense of confidence and pride. Visit www.BetterBrothersLA.com
ABOUT THE DIVA FOUNDATION
The DIVA Foundation -- founded in 1990 by Tony-nominated actress and HIV/AIDS advocate Sheryl Lee Ralph -- is a 501(c)3 non-profit organization, created as a living memorial to the many friends she lost to HIV/AIDS as an original cast member of the Broadway musical “Dreamgirls,” and because of her concern for the threat HIV/AIDS posed to women and children. Over the years, the DIVA Foundation has worked to break the silence and erase the stigma still connected to HIV/AIDS and encourage people to get tested in order to know their HIV status.
Takers tend to place little trust in other people. Because they assume that most people are takers, they hold relatively low expectations for the potential of their peers and subordinates.
Research shows that takers harbor doubts about others' intentions, so they monitor vigilantly for information that others might harm them, treating others with suspicion and distrust.
These low expectations trigger a vicious cycle, constraining the development and motivation of others. Even when takers are impressed by another person's capabilities or motivation, they're more likely to see this person as a threat, which means they're less willing to support and develop him or her.
As a result, takers frequently fail to engage in the types of supportive behaviors that are conducive to the confidence and development of their peers and subordinates.
~ Give and Take, by Adam Grant
Book Review: Give And Take By Adam Grant
Bret L. Simmons • July 4, 2013
Bob Sutton said of Adam Grant’s new book Give and Take: A Revolutionary Approach to Success that it “just might be one of the most important new books of this young century,” and proclaimed it was a book every leader should read. I strongly concur.
Adam Grant is one of the world’s most prolific researchers in the field of organizational behavior and management. Unlike the overwhelming majority of books on leadership and management, this one is actually worth reading because it is backed by several decades of excellent peer-reviewed scientific evidence on organizational citizenship, prosocial, and helping behaviors . This is a substantive read, but Grant weaves in real-life stories to support his evidence as well as any author you will find. I purchased my copy of the book, and it will be required reading in my MBA class this fall. I also bought it for my own daughter who is still in college and yet to start her career.
Grant’s research shows that all of us will assume one of three types of postures toward others: taker, giver, or matcher. “Whereas takers view success as attaining results that are superior to others’ and matchers see success in terms of balancing individual accomplishments with fairness to others, givers characterize success as individual achievements that have a positive impact on others” (pp. 256-257). Grant’s call to action for all of us is to “focus attention and energy on making a difference in the lives of others, and success might follow as a by-product” (p. 256).
Takers are selfish. Selfish people can win in the short run, but are much less likely to build a legacy of enduring greatness. When taker’s win, someone always loses; however, when givers win, their success spreads and cascades to others in their networks. But there are two types of givers, and Grant’s evidence shows that givers dominate the top and bottom of the success ladder.
Selfless givers give their time and energy without regard for their own needs, and as a result they too never achieve the lasting success. Otherish givers “care about benefiting others, but they also have ambitious goals for advancing their own interests” (p.157).
Do you want to achieve success in your life and career? I hope so. If you do, the evidence is pretty clear that by investing in the success of others, you make an important investment in your own success. Practice this posture and your success will be deeply rooted, rippling through the lives of those you work and live with.
5th Futurological Symposium On Free Cultural Spaces
Christiania, Copenhagen - 24-26.09.2015
Programm:
www.christianiaskulturforening.dk/2015/FREE%20CULTURAL%20...
Video:
www.youtube.com/watch?v=DSDrL5cjtiw
Photos:
www.flickr.com/photos/sterneck/albums/72157699018464575
Short Report:
www.freeculturalspaces.net/free-cultural-spaces-5th-sympo...
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Free Cultural Spaces
Christiania
Christianias Kulturforening
www.christianiaskulturforening.dk
Free Christiania *
www.flickr.com/photos/sterneck/albums/72157693213298290
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Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german / english) : www.sterneck.net
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The 5th FUTUROLOGICAL SYMPOSIUM
ON FREE CULTURAL SPACES:
Individuals and Collectives within Free Cultural Spaces, (a spiral meeting)
On the 24th, 25th, & 26th of September2015, Free-Town Christiania, in Copenhagen, Denmark, will host the 5th Futurological Symposium On Free Cultural Spaces (FCS): Individuals and Collectives within Free Cultural Spaces.
The term Futurological Symposium is taken from Stanislav Lem’s novel The Futurological Congress (1971) and refers to a deep commitment to developing an evolutionary perspective on Free Cultural Spaces (FCS) or Autonomous Zones. Ruigoord, the Dutch village that originated the Symposium idea, has been an active Free Cultural Space since 1973. Along with ThyLejren (the People’s Lair) and Christiania in Denmark, Ruigoord is one of the longest-lived of the Northern European utopian communities that emerged from the tumult of the Sixties. Its foundational principles, and thus those of the Futurological Symposia, rest on the notion of Homo Ludens, Playful Mankind ― the idea that free and playful interactions between people generate powerful communal impulses.
Since their inception, the Futurological Symposia have aimed to co-create a dynamic, lasting, sustainable, non-hierarchical global network of FCS; to originate a transnational platform for independent cultural experimentation; and to exchange ideas about the forms and content of free cultural circuits. Free Cultural Spaces take many forms, including squatted and hacker communities, pirate radio collectives and stations, free-towns, Eco-villages, perma-culture centers, independent festivals, (semi) nomadic groups, communes and communities, occupied grounds, Unceded Indigenous Territories, etc. When connected as an independent collaborative network, they have the potential to trigger profound changes in individual participants and society at large by disseminating values and practices that can generate new and creative alternatives to mainstream culture.
The 1st Symposium was organized as a response to an increasing oppression of Amsterdam’s counter-cultural communities and focused on the historical projects that had transformed the city into a pioneering Free-Town in the 60s and 70s.
The 2nd Symposium engaged different disciplines (philosophy, futurology, anthropology, politics, ecology, town planning etc.) and welcomed representatives from The Cultural Defense Line of Amsterdam in an attempt to conceptualize and organize a broad association of collective efforts.
The 3rd Symposium was an international gathering aimed at creating a solidarity league and formulating a treaty of mutual cooperation among FCS and the people involved with them. Representatives from Europe ― Belgium, Denmark, France, Germany, The Netherlands, Portugal, Spain, and the UK; Eastern Europe ― Russia; Asia ― Mongolia; North America ― the USA and Canada; and South America ― Colombia, gathered to share their visions. It was during this 3rd Symposium that the first steps were taken towards drafting a “Declaration of the Universal Spaces takes place in Christiania, Denmark on the 24th, 25th and 26th of September Value of Free Cultural Spaces.”
In August of 2014, the 4th Futurological Symposium: Creating Unity in Diversity took place at the Boom Festival, at Idahna-a-Nova Lake, Portugal. The Boom Symposium focused on festival culture. Festivals are playgrounds for the experience of freedom. They help shape group spirit and ethos and facilitate direct human contact among people who are nowadays often connected solely via the Internet. A festival experience often accelerate an individual’s awareness that life offers multiple alternatives to the constrained and constraining experiences that mainstream society advocates. It can establish deep and mutually enriching connections between FCS and experiences of personal liberation. The importance of festivals for the co-creation of a counter-cultural reality links festival culture to autonomous zones around the world.
The Boom Symposium explored the festival parameters of free cultural experience, and linked the Futurological Symposium project to Project Nuevo Mundo, an international network of sustainability-focused communities based in Mexico and Central America. Particularly interesting features of the “free culture” that animates FCS began to emerge, including the importance of developing and/or recognizing rites of passage to the mindsets that recognize the potentialities contained in FCS.
At Christiania, the 5th Symposium will debate the interactive importance of Individual and Collective Aims within Free Cultural Spaces.
The Futurological Symposiums are manifestations of a nomadic, decentralized event. Future Symposiums will take place in different FCS, and will focus on different aspects of FCS networks. The diversity between the projects and perspectives presented at each event will constitute its distinctive feature, with the connections, collaboration, and continuities it generates providing new and exciting synergies to the overall Futurological Symposium project.
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4 May 2023 – After high growth for many decades, developing Asia in the past three years grew at an average of just 3.6%. Low-cost labor-intensive manufacturing is challenged by automation and aging populations, high debt is constraining room for investment, globalization is threatened, and there are many risks to macro stability. The seminar look at the factors that can drive a sustained rebound in developing Asia’s long-term growth.
The event was held on the sidelines of the 56th Annual Meeting of the ADB Board of Governors.
The day starts at 7:30 am with a 40-minute drive to the Punta Bandera dock to take a boat on Lago Argentino to Upsala Glacier, a large valley glacier on the eastern side of the Southern Patagonian Ice Field. Its higher portion lies in a disputed territory between Chile and Argentina. The glacier terminus is at Upsala channel of Lago Argentino. The Upsala Glacier is well known for its rapid retreat that has been ongoing since the glacier was first documented in 1810. The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. Another period of even faster retreat started in 2008. As of 2018 Upsala Glacier has retreated to such degree that it no longer constrains its tributary Bertacchi Glacier. The boat then drops us off at the Estancia Cristina, an Argentine cattle and sheep ranch located inside Los Glaciares National Park in Santa Cruz Province. It is here that we take a 4x4 for 45 minutes up a mountain, stop and continue up for another 20 minutes, reaching the summit around 12:30 pm. The ranch was founded in 1914 by Joseph Percival Masters, an Englishman who came to Patagonia with his wife in 1900; Estancia Cristina is named for Masters' daughter Cristina. Located on the coast of Brazo Cristina, a northern channel of Lago Argentino, Estancia Cristina still keeps the history of the Masters family alive. Its lodge has 20 rooms distributed over 5 buildings and it his here that we had lunch followed by a presentation of the traditional Mate, an Argentinean tea and a tour of the ranch. We then take the boat back to Punta Bandera and arrive back at the hotel at 8:00 pm.
Edited Hubble Space Telescope image of the galaxy NGC 4526. Color/processing variant.
Original caption: This neat little galaxy is known as NGC 4526. Its dark lanes of dust and bright diffuse glow make the galaxy appear to hang like a halo in the emptiness of space in this new image from the NASA/ESA Hubble Space Telescope. Although this image paints a picture of serenity, the galaxy is anything but. It is one of the brightest lenticular galaxies known, a category that lies somewhere between spirals and ellipticals. It has hosted two known supernova explosions, one in 1969 and another in 1994, and is known to have a colossal supermassive black hole at its centre that has the mass of 450 million Suns. NGC 4526 is part of the Virgo cluster of galaxies. Ground-based observations of galaxies in this cluster have revealed that a quarter of these galaxies seem to have rapidly rotating discs of gas at their centres. The most spectacular of these is this galaxy, NGC 4526, whose spinning disc of gas, dust, and stars reaches out uniquely far from its heart, spanning some 7% of the galaxy's entire radius. This disc is moving incredibly fast, spinning at more than 250 kilometres per second. The dynamics of this quickly whirling region were actually used to infer the mass of NGC 4526’s central black hole — a technique that had not been used before to constrain a galaxy’s central black hole. This image was taken using Hubble’s Wide Field Planetary Camera 2. A version of this image was entered into the Hubble’s Hidden Treasures image processing competition by contestant Judy Schmidt. Hidden Treasures was an initiative to invite astronomy enthusiasts to search the Hubble archive for stunning images that have never been seen by the general public.
5th Futurological Symposium On Free Cultural Spaces
Christiania, Copenhagen - 24-26.09.2015
Programm:
www.christianiaskulturforening.dk/2015/FREE%20CULTURAL%20...
Video:
www.youtube.com/watch?v=DSDrL5cjtiw
Photos:
www.flickr.com/photos/sterneck/albums/72157699018464575
Short Report:
www.freeculturalspaces.net/free-cultural-spaces-5th-sympo...
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Free Cultural Spaces
Christiania
Christianias Kulturforening
www.christianiaskulturforening.dk
Free Christiania *
www.flickr.com/photos/sterneck/albums/72157693213298290
- * -
Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german / english) : www.sterneck.net
- * -
The 5th FUTUROLOGICAL SYMPOSIUM
ON FREE CULTURAL SPACES:
Individuals and Collectives within Free Cultural Spaces, (a spiral meeting)
On the 24th, 25th, & 26th of September2015, Free-Town Christiania, in Copenhagen, Denmark, will host the 5th Futurological Symposium On Free Cultural Spaces (FCS): Individuals and Collectives within Free Cultural Spaces.
The term Futurological Symposium is taken from Stanislav Lem’s novel The Futurological Congress (1971) and refers to a deep commitment to developing an evolutionary perspective on Free Cultural Spaces (FCS) or Autonomous Zones. Ruigoord, the Dutch village that originated the Symposium idea, has been an active Free Cultural Space since 1973. Along with ThyLejren (the People’s Lair) and Christiania in Denmark, Ruigoord is one of the longest-lived of the Northern European utopian communities that emerged from the tumult of the Sixties. Its foundational principles, and thus those of the Futurological Symposia, rest on the notion of Homo Ludens, Playful Mankind ― the idea that free and playful interactions between people generate powerful communal impulses.
Since their inception, the Futurological Symposia have aimed to co-create a dynamic, lasting, sustainable, non-hierarchical global network of FCS; to originate a transnational platform for independent cultural experimentation; and to exchange ideas about the forms and content of free cultural circuits. Free Cultural Spaces take many forms, including squatted and hacker communities, pirate radio collectives and stations, free-towns, Eco-villages, perma-culture centers, independent festivals, (semi) nomadic groups, communes and communities, occupied grounds, Unceded Indigenous Territories, etc. When connected as an independent collaborative network, they have the potential to trigger profound changes in individual participants and society at large by disseminating values and practices that can generate new and creative alternatives to mainstream culture.
The 1st Symposium was organized as a response to an increasing oppression of Amsterdam’s counter-cultural communities and focused on the historical projects that had transformed the city into a pioneering Free-Town in the 60s and 70s.
The 2nd Symposium engaged different disciplines (philosophy, futurology, anthropology, politics, ecology, town planning etc.) and welcomed representatives from The Cultural Defense Line of Amsterdam in an attempt to conceptualize and organize a broad association of collective efforts.
The 3rd Symposium was an international gathering aimed at creating a solidarity league and formulating a treaty of mutual cooperation among FCS and the people involved with them. Representatives from Europe ― Belgium, Denmark, France, Germany, The Netherlands, Portugal, Spain, and the UK; Eastern Europe ― Russia; Asia ― Mongolia; North America ― the USA and Canada; and South America ― Colombia, gathered to share their visions. It was during this 3rd Symposium that the first steps were taken towards drafting a “Declaration of the Universal Spaces takes place in Christiania, Denmark on the 24th, 25th and 26th of September Value of Free Cultural Spaces.”
In August of 2014, the 4th Futurological Symposium: Creating Unity in Diversity took place at the Boom Festival, at Idahna-a-Nova Lake, Portugal. The Boom Symposium focused on festival culture. Festivals are playgrounds for the experience of freedom. They help shape group spirit and ethos and facilitate direct human contact among people who are nowadays often connected solely via the Internet. A festival experience often accelerate an individual’s awareness that life offers multiple alternatives to the constrained and constraining experiences that mainstream society advocates. It can establish deep and mutually enriching connections between FCS and experiences of personal liberation. The importance of festivals for the co-creation of a counter-cultural reality links festival culture to autonomous zones around the world.
The Boom Symposium explored the festival parameters of free cultural experience, and linked the Futurological Symposium project to Project Nuevo Mundo, an international network of sustainability-focused communities based in Mexico and Central America. Particularly interesting features of the “free culture” that animates FCS began to emerge, including the importance of developing and/or recognizing rites of passage to the mindsets that recognize the potentialities contained in FCS.
At Christiania, the 5th Symposium will debate the interactive importance of Individual and Collective Aims within Free Cultural Spaces.
The Futurological Symposiums are manifestations of a nomadic, decentralized event. Future Symposiums will take place in different FCS, and will focus on different aspects of FCS networks. The diversity between the projects and perspectives presented at each event will constitute its distinctive feature, with the connections, collaboration, and continuities it generates providing new and exciting synergies to the overall Futurological Symposium project.
- * -
.
4 May 2023 – After high growth for many decades, developing Asia in the past three years grew at an average of just 3.6%. Low-cost labor-intensive manufacturing is challenged by automation and aging populations, high debt is constraining room for investment, globalization is threatened, and there are many risks to macro stability. The seminar look at the factors that can drive a sustained rebound in developing Asia’s long-term growth.
The event was held on the sidelines of the 56th Annual Meeting of the ADB Board of Governors.
The Annual Classic Car Show at Pencoed, near Bridgend was on 11th May. As I haven't been for a few years I felt it was time to make a visit. The plan was simple, arrive early so I could photograph exhibits as they arrive and before the ground became too crowded. In practise, this was fine for commercial vehicles but the car sections were so close together it was almost impossible to be creative, especially with a wide angle bolted on the front!
This was the first shot of the morning, only just in time, seconds later the green space to the left was filled with car trailers and other rally "untidys". The weather was extremely hot and by lunch time I'd had enough, 700 cars and other attractions crammed into a site little larger than a football field is a little constraining photographically!
THIS SHORE LIGHTHOUSE GUARDS THE EAST SIDE OF THE ENTRANCE TO LOCH RYAN FROM A POINT JUST SOUTH EAST OF IT. IT STANDS ON CAIRN POINT WHICH PROJECTS INTO LOCH RYAN FROM A NARROW SHELF IN FRONT OF THE MAIN (A77) ROAD; A SOLID PORTION ON THE EAST SIDE OF THE LANTERN CONSTRAINS THE LIGHT TO SEAWARD. THE LIGHTHOUSE WAS BUILT BY ALAN STEVENSON AND FIRST LIT IN 1847. IT WAS CONVERTED TO OIL BURNING IN 1897, AND AUTOMATED (ELECTRIFIED AND MADE 'UNATTENDED') IN 1964.
Installing screws that attach the axle box to the brackets. The axle will sit in the slot on top. The slot had to be as long as the frame of my hand truck, the one constraining factor in the cart's design
Ralph Tripod, my photographic assistant near the car, knows the drill: "just stand still."
Photographed in June 2011 at the start of my first handcart hike at Crater Island.
One of my sets has photos of all my Crater Island handcart hikes.
The focus of my research is an examination of the daily lives of South Asian women, specifically in my home city of Karachi, Pakistan. Within my art practice, I draw from my experiences of how I inhabit public and private spaces and rely on research from other South Asian scholars interested in gender, urban space and the women’s right in everyday life. My research into how gender is interwoven with demarcations between and connotations of public and private spaces has led me to deeply examine what private spaces and boundaries mean to women for whom unconditional access to public spaces is still a fantasy. In this exhibition I investigate “phenomenal boundaries”; a term coined by sociologist Bridget Purcell, that is, the boundary not as “real”, but as experienced and constituted (or not) by its inhabitants. My aim is to think about place from the lens of gender and discuss phenomenal boundaries women create in order to feel safer in public spaces, as well as the phenomenal boundaries in the form of fear that women experience when they step into a public place. Examining my relationship with place has led me to a deeper and more expansive definition of boundaries as constraining, or safe, and sometimes both at the same time. In the installation, Transgressing Boundaries, I present my perspective as a upper middle class woman living in Pakistan, negotiating the boundaries of fear, of limited access to public space, and within the private spaces of home. My work draws out how I, and many other women around me, actively engage and negotiate for space and power. One of the ways of doing this is by using the very same boundaries and constraints to empower space for ourselves in the patriarchal world. In this installation, I reflect on the idea of boundaries by curating a private space, built with separators, the ritual of Rangoli, and illustrations of myself. I create a private space that is safe and yet constraining, active and yet passive; a space that maintains boundaries while simultaneously transgress them.
The World Land Speed Record
The date is October 15, 1964. Craig Breedlove pilots Spirit of America I through the flying mile at Bonneville's land speed record course. As he exists the speed traps at over 550 miles an hour, flame extends twelve feet beyond the car's jet exhaust. A white plume of salt rises from her wheels. In the cockpit, Breedlove presses a button to ignite a powder charge in a parachute canister at the car's tail. He feels a slight tug as his braking chute opens. Then nothing. The chute has failed. Streaking past a marker indicating three miles of track remaining, the speedometer indicates 460 miles an hour. Craig deploys his emergency chute. Nothing. At the end of the track, he tries his disc brakes. His foot goes to the floor. Shaped to slip easily through the air, Spirit of America continues off course with great velocity, glances off a telephone pole, climbs an earthen dike that constrains a pool of water, and flies. The vehicle skips across the pool in a series of ever tightening arcs and comes to rest, nose down, with her cockpit in six feet of water. Breedlove emerges unscathed and with a new world record of 526.277 miles an hour. A few months earlier, Glenn Leasher had perished in the wreckage of his jet powered car. In 1963, Athol Graham died when his City of Salt Lake crashed on the same course.
Time warp forward thirty-one years to October 21st, 1996. Breedlove, now 59 years old, still looks the youthful "Captain America" who captured the land speed record five times and set a record of 600.61 MPH in 1965. He is a PR man's dream - handsome, articulate impassioned. Craig first traveled to the Salt Flats on the window ledge of a '46 Ford hot rod driven by a neighborhood teenager. He was then fifteen. From that moment he has focused his life on the land speed record - often at the expense of family and personal fortune. Now, after a thirty year enforced leave of absence when public interest shifted away from speed, Craig has created a new Spirit of America to break the record which, in the interim, has been set by Englishman Richard Noble at 633 miles an hour.
Sometimes kitsune describe protecting «a star sphere»; affirms that taken hold of this sphere can force of the kitsune to help itself. Kitsune are obliged to constrain the promises, differently they should be punished in the form of decrease in the rank or force level.
Иногда кицунэ описывают охраняющими «звёздный шар»; утверждается, что завладевший этим шаром может заставить кицунэ помогать себе. Кицунэ обязаны сдерживать свои обещания, иначе им придётся понести наказание в виде снижения своего ранга или уровня силы.
I don't mind the fireworks on new year's, but those bangers really get on my nerves. especially since everybody's been making noise for the whole day. what a waste of money...
I'd rather people keep indoors and constrain the noise to a shorther amount of time. guess it just wasn't cold enough.
anyway, I spent new year's eve with friends of mine. just having a nice evening, folding some, talking some, enjoying wonderful venison stew, watching "dinner for one", calming camillo. you see, camillo is a rather old cat by now and he was definitely uncomfortable with the noise (banging all day through, really not a moment of silence).
Through getting familiarized with different kinds of shops, merchandizes or items for consumption, I realized that the packaging definitely has a significant impact on the relationship between the public and the product. The packaging even strongly contributes to the identity of the given product.
For this project, I wanted to create a packaging that could at the same time transform the relationship that a public has with an object.
I chose to work with the book “Alice in Wonderland” in the goal of addressing it to teenagers. Today, certainly due to the impact of new technologies of communication and information, teenagers do not really appreciate the books reading. Opening a book seems to have become an embarrassing, boring, or even constraining gesture.
By having read “Alice in Wonderland”, the English classic by Lewis Carroll, I realized that the content of this novel is definitely more complex than a children story, especially the one vulgarized by Disney through the cartoon the company made.
For my project, since I wanted to address “Alice in Wonderland” book to teenagers, I have done some researches about what teenagers are visually interested in. Their main interests are mainly fashion, party pictures, vintage, advertising, psychedelic arts and graffiti.
Also, getting inspired by Taschen editions, I finally decided to create a box where the reader could enter into the world of Alice before reading the book. This visual approach could hence make teenagers want to be part of the book and would also make them want to read it.
©Kim Hou
4 May 2023 – After high growth for many decades, developing Asia in the past three years grew at an average of just 3.6%. Low-cost labor-intensive manufacturing is challenged by automation and aging populations, high debt is constraining room for investment, globalization is threatened, and there are many risks to macro stability. The seminar look at the factors that can drive a sustained rebound in developing Asia’s long-term growth.
The event was held on the sidelines of the 56th Annual Meeting of the ADB Board of Governors.
St Peter, Monks Eleigh, Suffolk
Here we are in the Brett Valley, the prettiest part of East Anglia, I think. Nearby Lavenham and Kersey attract all the tourists, but I wonder how many of them ever make it out into these deliciously lovely villages that huddle in the gentle hills between Hadleigh and Stowmarket? A mile or so from its little sister Brent Eleigh, this village has the grander church, but, perhaps, the less interesting one.It certainly has a splendid setting, for this was one of the great wool-producing villages of the Brett Valley in late medieval days, the busiest and richest part of England in the 15th century.
Up from the village high street, St Peter's powerful 15th century tower can be seen for miles around, and it is a pleasant foil to the mightily sombre St Peter and St Paul, Lavenham, a couple of miles beyond it. St Peter's tower is perhaps more typical of the churches of the nearby Stour Valley, with the stair turret climbing beyond the battlements. It certainly makes itself known - in this hilly country, every view is like a painting.
The tower sits close to the road, with a fascinating west doorway carved with little animals. There was a huge rebuilding here in the late 15th century, as you might expect. The top of the tower has deliciously decorated flushwork and a weather vane dated 1969. The graveyard constrains the building tightly to south and north, but then sprawls away to the east. Looking back, you can see that the long chancel is entirely 19th century.
You enter through the south porch. While this part of Suffolk is well-known for some deliciously atmospheric and historically significant interiors, this is something different. There was an overwhelming Victorian restoration here in the full flush of Anglican triumphalism, leaving a fairly urban and even slightly anonymous feeling, although this is obviously a well-loved and cared-for place. It would have been interesting to see this church in the 18th century, when it was full of box pews - the door of one of them survives in the south-west corner, labelled Free for Women. The elegant Early English tub font on pilasters, retaining its Perpendicular font cover, was originally at this end but has since been reset in front of the former north doorway.
The nave was rebuilt at the time of the tower, retaining an arcade from an earlier church, but otherwise being all of a Perpendicular piece. There is a massive set of Queen Anne royal arms above the chancel arch, almost of a size with those at Mildenhall. The chancel is wholly Victorian in construction and character, but it has some fascinating windows by the Ward & Hughes workshop, not a sentiment I hold very often. They depict scenes from the life of Christ - the summoning of the Disciples, the raising of Jairus's daughter - but if you look closely you will see that some of the figures in the scenes have 19th century faces, and are wearing 19th century clothes. These are memorial windows to the figures worked into the scenes, and the brass plaques that name them are also by Ward & Hughes. The best one is the astonishing consumptive figure of Jairus's daughter, who is represented by Winifred Frances Fisher, a 17 year old girl who was suddenly called home in 1892. Her plaque notes that she was perfected in a short time. She lies on her death bed, her silvery curls flowing across the pillow in a perfect moment of late Victorian sentiment. Rather odder is the figure of her father, in full 19th Century formal wear, who peers curiously from behind the backs of St Peter and St Andrew as they are called on the lake shore to give their lives to Christ.
We met this young and very brave and determined girl, Stella. She were forced by her mother to quit school due to the economic constraints of the household. But Stella, having come into contact with the work done by IM and Creccom, reacted differently than what would normally be the case. She ran away, seeking help and demanding to return to school. Usually girls in her situation quit school, often marry young (as young as 13) and become pregnant. Thereby never ever receive any education and with that loosing any real chance of getting out of poverty herself.
The local mothers group, one of many parts of the IM-Creccom initiative "GESI", talked to the mother who changed her mind. Stella is now back in school and doing excellently.
Girls Education Support Initiative (GESI), is funded by IM (IM-SOIR) and are addressing the complexities constraining girls education.
The partnership through Girls Education Support Initiative (GESI) is an integrated approach to address challenges facing girl children through community mobilization including meeting girls’ post-primary education cost.
Creccom explains that the Malawian situation have shown that socio-economic, socio-cultural and school related factors contribute to girls’ poor access to, retention, and performance in school, "but underlying all these factors, however, is a widely shared, negative attitude towards girls’ education. Malawi is a patriarchal society embedded with gender stereotypes that place a low value on girls’ education. Early marriages and pregnancies are commonly cited causes of low girls’ participation in education. "
Photo and copyright: Erik Törner, IM Individuell Människohjälp www.manniskohjalp.se
St Peter, Monks Eleigh, Suffolk
Here we are in the Brett Valley, the prettiest part of East Anglia, I think. Nearby Lavenham and Kersey attract all the tourists, but I wonder how many of them ever make it out into these deliciously lovely villages that huddle in the gentle hills between Hadleigh and Stowmarket? A mile or so from its little sister Brent Eleigh, this village has the grander church, but, perhaps, the less interesting one.It certainly has a splendid setting, for this was one of the great wool-producing villages of the Brett Valley in late medieval days, the busiest and richest part of England in the 15th century.
Up from the village high street, St Peter's powerful 15th century tower can be seen for miles around, and it is a pleasant foil to the mightily sombre St Peter and St Paul, Lavenham, a couple of miles beyond it. St Peter's tower is perhaps more typical of the churches of the nearby Stour Valley, with the stair turret climbing beyond the battlements. It certainly makes itself known - in this hilly country, every view is like a painting.
The tower sits close to the road, with a fascinating west doorway carved with little animals. There was a huge rebuilding here in the late 15th century, as you might expect. The top of the tower has deliciously decorated flushwork and a weather vane dated 1969. The graveyard constrains the building tightly to south and north, but then sprawls away to the east. Looking back, you can see that the long chancel is entirely 19th century.
You enter through the south porch. While this part of Suffolk is well-known for some deliciously atmospheric and historically significant interiors, this is something different. There was an overwhelming Victorian restoration here in the full flush of Anglican triumphalism, leaving a fairly urban and even slightly anonymous feeling, although this is obviously a well-loved and cared-for place. It would have been interesting to see this church in the 18th century, when it was full of box pews - the door of one of them survives in the south-west corner, labelled Free for Women. The elegant Early English tub font on pilasters, retaining its Perpendicular font cover, was originally at this end but has since been reset in front of the former north doorway.
The nave was rebuilt at the time of the tower, retaining an arcade from an earlier church, but otherwise being all of a Perpendicular piece. There is a massive set of Queen Anne royal arms above the chancel arch, almost of a size with those at Mildenhall. The chancel is wholly Victorian in construction and character, but it has some fascinating windows by the Ward & Hughes workshop, not a sentiment I hold very often. They depict scenes from the life of Christ - the summoning of the Disciples, the raising of Jairus's daughter - but if you look closely you will see that some of the figures in the scenes have 19th century faces, and are wearing 19th century clothes. These are memorial windows to the figures worked into the scenes, and the brass plaques that name them are also by Ward & Hughes. The best one is the astonishing consumptive figure of Jairus's daughter, who is represented by Winifred Frances Fisher, a 17 year old girl who was suddenly called home in 1892. Her plaque notes that she was perfected in a short time. She lies on her death bed, her silvery curls flowing across the pillow in a perfect moment of late Victorian sentiment. Rather odder is the figure of her father, in full 19th Century formal wear, who peers curiously from behind the backs of St Peter and St Andrew as they are called on the lake shore to give their lives to Christ.
The day starts at 7:30 am with a 40-minute drive to the Punta Bandera dock to take a boat on Lago Argentino to Upsala Glacier, a large valley glacier on the eastern side of the Southern Patagonian Ice Field. Its higher portion lies in a disputed territory between Chile and Argentina. The glacier terminus is at Upsala channel of Lago Argentino. The Upsala Glacier is well known for its rapid retreat that has been ongoing since the glacier was first documented in 1810. The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. Another period of even faster retreat started in 2008. As of 2018 Upsala Glacier has retreated to such degree that it no longer constrains its tributary Bertacchi Glacier. The boat then drops us off at the Estancia Cristina, an Argentine cattle and sheep ranch located inside Los Glaciares National Park in Santa Cruz Province. It is here that we take a 4x4 for 45 minutes up a mountain, stop and continue up for another 20 minutes, reaching the summit around 12:30 pm. The ranch was founded in 1914 by Joseph Percival Masters, an Englishman who came to Patagonia with his wife in 1900; Estancia Cristina is named for Masters' daughter Cristina. Located on the coast of Brazo Cristina, a northern channel of Lago Argentino, Estancia Cristina still keeps the history of the Masters family alive. Its lodge has 20 rooms distributed over 5 buildings and it his here that we had lunch followed by a presentation of the traditional Mate, an Argentinean tea and a tour of the ranch. We then take the boat back to Punta Bandera and arrive back at the hotel at 8:00 pm.
As in “It’s a Duesy.” As in Duesenberg. As in power and speed and audacious size and spellbinding beauty. As in engineering, breeding, and bloodline that place it at the very pinnacle of automotive achievement, beside such icons as Rolls-Royce, Mercedes-Benz, and Bugatti and qualify it, hands down, as the greatest car ever produced in America. Duesenberg. As in the only automobile ever to enter the language as a superlative noun in the lexicon of slang.
The name has come to be equated with European nobility and patrician tastes, but in fact the Duesenberg’s origins were decidedly plebeian. It rose from, of all places, the cornfields of Iowa, the creation of two brash brothers, Fred and August Duesenberg. Like other noted American mechanical creators of the late nineteenth century—the Wrights, Ford, Edison, Curtiss, Eastman —they were back-yard tinkerers, for the most part bereft of formal education (and therefore the constraining dicta of academia). Born in Lippe, Germany, in the 1870s (Frederic, the senior, in 1874: August, five years later), they followed their older brother, Henry, to America after’ the death of their father when they were still little boys. The family settled in Rockford, Iowa, a tiny farming community a few miles south of Mason City. Henry toured the surrounding territory as a salesman for a nursery and seed company.
1930 Duesenberg Model J Convertible Berline
Coachwork by LeBaron
Unquestioned Provenance and Exceptional Authenticity
An ACD Club Category One Example – Original Engine, Chassis And Body
Magnificent Semi-Formal Open Coachwork
CCCA Senior Premiere Award Winner
Highly Regarded in Duesenberg Circles
One of Only Two Such Model Js Known to Survive
420 CID DOHC Inline 8-Cylinder Engine
Schebler Dual-Throat Updraft Carburetor
265 BHP at 4,200 RPM
3-Speed Manual Gearbox
4-Wheel Vacuum-Assisted Hydraulic Drum Brakes
Live-Axle Suspension with Semi-Elliptical Leaf Springs and Double-Acting
Hydraulic-Lever Shock Absorbers
I'm a bit reluctant to use such severe crops in general (not just because it implies I got it wrong in the first place ;b - but because my camera doesn't have a great Mp count at 10.2) - but I think Dom's crop is one worth posting - it's certainly a tighter composition (I haven't followed his crop 100% precisely, because I wanted to 'constrain proportions', but it's very close).
i am back!
and this is my 200th shot in flickr ...
till now it's been only square format ...
but i will not constrain it to only square format from now on
The day starts at 7:30 am with a 40-minute drive to the Punta Bandera dock to take a boat on Lago Argentino to Upsala Glacier, a large valley glacier on the eastern side of the Southern Patagonian Ice Field. Its higher portion lies in a disputed territory between Chile and Argentina. The glacier terminus is at Upsala channel of Lago Argentino. The Upsala Glacier is well known for its rapid retreat that has been ongoing since the glacier was first documented in 1810. The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. Another period of even faster retreat started in 2008. As of 2018 Upsala Glacier has retreated to such degree that it no longer constrains its tributary Bertacchi Glacier. The boat then drops us off at the Estancia Cristina, an Argentine cattle and sheep ranch located inside Los Glaciares National Park in Santa Cruz Province. It is here that we take a 4x4 for 45 minutes up a mountain, stop and continue up for another 20 minutes, reaching the summit around 12:30 pm. The ranch was founded in 1914 by Joseph Percival Masters, an Englishman who came to Patagonia with his wife in 1900; Estancia Cristina is named for Masters' daughter Cristina. Located on the coast of Brazo Cristina, a northern channel of Lago Argentino, Estancia Cristina still keeps the history of the Masters family alive. Its lodge has 20 rooms distributed over 5 buildings and it his here that we had lunch followed by a presentation of the traditional Mate, an Argentinean tea and a tour of the ranch. We then take the boat back to Punta Bandera and arrive back at the hotel at 8:00 pm.
5th Futurological Symposium On Free Cultural Spaces
Christiania, Copenhagen - 24-26.09.2015
Programm:
www.christianiaskulturforening.dk/2015/FREE%20CULTURAL%20...
Video:
www.youtube.com/watch?v=DSDrL5cjtiw
Photos:
www.flickr.com/photos/sterneck/albums/72157699018464575
Short Report:
www.freeculturalspaces.net/free-cultural-spaces-5th-sympo...
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Free Cultural Spaces
Christiania
Christianias Kulturforening
www.christianiaskulturforening.dk
Free Christiania *
www.flickr.com/photos/sterneck/albums/72157693213298290
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Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german / english) : www.sterneck.net
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The 5th FUTUROLOGICAL SYMPOSIUM
ON FREE CULTURAL SPACES:
Individuals and Collectives within Free Cultural Spaces, (a spiral meeting)
On the 24th, 25th, & 26th of September2015, Free-Town Christiania, in Copenhagen, Denmark, will host the 5th Futurological Symposium On Free Cultural Spaces (FCS): Individuals and Collectives within Free Cultural Spaces.
The term Futurological Symposium is taken from Stanislav Lem’s novel The Futurological Congress (1971) and refers to a deep commitment to developing an evolutionary perspective on Free Cultural Spaces (FCS) or Autonomous Zones. Ruigoord, the Dutch village that originated the Symposium idea, has been an active Free Cultural Space since 1973. Along with ThyLejren (the People’s Lair) and Christiania in Denmark, Ruigoord is one of the longest-lived of the Northern European utopian communities that emerged from the tumult of the Sixties. Its foundational principles, and thus those of the Futurological Symposia, rest on the notion of Homo Ludens, Playful Mankind ― the idea that free and playful interactions between people generate powerful communal impulses.
Since their inception, the Futurological Symposia have aimed to co-create a dynamic, lasting, sustainable, non-hierarchical global network of FCS; to originate a transnational platform for independent cultural experimentation; and to exchange ideas about the forms and content of free cultural circuits. Free Cultural Spaces take many forms, including squatted and hacker communities, pirate radio collectives and stations, free-towns, Eco-villages, perma-culture centers, independent festivals, (semi) nomadic groups, communes and communities, occupied grounds, Unceded Indigenous Territories, etc. When connected as an independent collaborative network, they have the potential to trigger profound changes in individual participants and society at large by disseminating values and practices that can generate new and creative alternatives to mainstream culture.
The 1st Symposium was organized as a response to an increasing oppression of Amsterdam’s counter-cultural communities and focused on the historical projects that had transformed the city into a pioneering Free-Town in the 60s and 70s.
The 2nd Symposium engaged different disciplines (philosophy, futurology, anthropology, politics, ecology, town planning etc.) and welcomed representatives from The Cultural Defense Line of Amsterdam in an attempt to conceptualize and organize a broad association of collective efforts.
The 3rd Symposium was an international gathering aimed at creating a solidarity league and formulating a treaty of mutual cooperation among FCS and the people involved with them. Representatives from Europe ― Belgium, Denmark, France, Germany, The Netherlands, Portugal, Spain, and the UK; Eastern Europe ― Russia; Asia ― Mongolia; North America ― the USA and Canada; and South America ― Colombia, gathered to share their visions. It was during this 3rd Symposium that the first steps were taken towards drafting a “Declaration of the Universal Spaces takes place in Christiania, Denmark on the 24th, 25th and 26th of September Value of Free Cultural Spaces.”
In August of 2014, the 4th Futurological Symposium: Creating Unity in Diversity took place at the Boom Festival, at Idahna-a-Nova Lake, Portugal. The Boom Symposium focused on festival culture. Festivals are playgrounds for the experience of freedom. They help shape group spirit and ethos and facilitate direct human contact among people who are nowadays often connected solely via the Internet. A festival experience often accelerate an individual’s awareness that life offers multiple alternatives to the constrained and constraining experiences that mainstream society advocates. It can establish deep and mutually enriching connections between FCS and experiences of personal liberation. The importance of festivals for the co-creation of a counter-cultural reality links festival culture to autonomous zones around the world.
The Boom Symposium explored the festival parameters of free cultural experience, and linked the Futurological Symposium project to Project Nuevo Mundo, an international network of sustainability-focused communities based in Mexico and Central America. Particularly interesting features of the “free culture” that animates FCS began to emerge, including the importance of developing and/or recognizing rites of passage to the mindsets that recognize the potentialities contained in FCS.
At Christiania, the 5th Symposium will debate the interactive importance of Individual and Collective Aims within Free Cultural Spaces.
The Futurological Symposiums are manifestations of a nomadic, decentralized event. Future Symposiums will take place in different FCS, and will focus on different aspects of FCS networks. The diversity between the projects and perspectives presented at each event will constitute its distinctive feature, with the connections, collaboration, and continuities it generates providing new and exciting synergies to the overall Futurological Symposium project.
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.
The day starts at 7:30 am with a 40-minute drive to the Punta Bandera dock to take a boat on Lago Argentino to Upsala Glacier, a large valley glacier on the eastern side of the Southern Patagonian Ice Field. Its higher portion lies in a disputed territory between Chile and Argentina. The glacier terminus is at Upsala channel of Lago Argentino. The Upsala Glacier is well known for its rapid retreat that has been ongoing since the glacier was first documented in 1810. The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. Another period of even faster retreat started in 2008. As of 2018 Upsala Glacier has retreated to such degree that it no longer constrains its tributary Bertacchi Glacier. The boat then drops us off at the Estancia Cristina, an Argentine cattle and sheep ranch located inside Los Glaciares National Park in Santa Cruz Province. It is here that we take a 4x4 for 45 minutes up a mountain, stop and continue up for another 20 minutes, reaching the summit around 12:30 pm. The ranch was founded in 1914 by Joseph Percival Masters, an Englishman who came to Patagonia with his wife in 1900; Estancia Cristina is named for Masters' daughter Cristina. Located on the coast of Brazo Cristina, a northern channel of Lago Argentino, Estancia Cristina still keeps the history of the Masters family alive. Its lodge has 20 rooms distributed over 5 buildings and it his here that we had lunch followed by a presentation of the traditional Mate, an Argentinean tea and a tour of the ranch. We then take the boat back to Punta Bandera and arrive back at the hotel at 8:00 pm.
This is the edited version, I started by cropping while constraining it to the original size . Then I used ate quick selection tool to create and adjustment layer that would only effect the sky which I added a Black and White effect to it. Then I added a Level adjustment layer to just the sky and changed the Shadows to 73 the Mid-Tones to 0.45 and the Highlights to 255. i then made another mask which only covered the building and added a photo filter to it which was the Warming Filter (85) and its density was 39%
The day starts at 7:30 am with a 40-minute drive to the Punta Bandera dock to take a boat on Lago Argentino to Upsala Glacier, a large valley glacier on the eastern side of the Southern Patagonian Ice Field. Its higher portion lies in a disputed territory between Chile and Argentina. The glacier terminus is at Upsala channel of Lago Argentino. The Upsala Glacier is well known for its rapid retreat that has been ongoing since the glacier was first documented in 1810. The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. Another period of even faster retreat started in 2008. As of 2018 Upsala Glacier has retreated to such degree that it no longer constrains its tributary Bertacchi Glacier. The boat then drops us off at the Estancia Cristina, an Argentine cattle and sheep ranch located inside Los Glaciares National Park in Santa Cruz Province. It is here that we take a 4x4 for 45 minutes up a mountain, stop and continue up for another 20 minutes, reaching the summit around 12:30 pm. The ranch was founded in 1914 by Joseph Percival Masters, an Englishman who came to Patagonia with his wife in 1900; Estancia Cristina is named for Masters' daughter Cristina. Located on the coast of Brazo Cristina, a northern channel of Lago Argentino, Estancia Cristina still keeps the history of the Masters family alive. Its lodge has 20 rooms distributed over 5 buildings and it his here that we had lunch followed by a presentation of the traditional Mate, an Argentinean tea and a tour of the ranch. We then take the boat back to Punta Bandera and arrive back at the hotel at 8:00 pm.
Better Brothers Los Angeles teamed up with the Diva Foundation at the historic Wilshire Ebel Theater in Los Angeles.
The event is sponsored by Gilead, AIDS Healthcare Foundation, and the generous support of businessman and activist Gerard McCallum.
The Truth Awards will benefit the DIVA Foundation and its partnership with Better Brothers LA with several initiatives aimed at affirming and strengthening the African American LGBTQ community educationally, financially, physically and socially. Proceeds will also benefit the Better Brothers LA Book Scholarship and other programming needs of the organization. For more information about the organization and its scholarship program
ABOUT BETTER BROTHERS LOS ANGELES
Better Brothers Los Angeles was created to provide spaces for Black gay men to network, socialize and be BETTER – at life, love and community. Developing a sense of community has been a challenge for some Black gay men, given the cultural and religious opposition to their sexual orientation. As those challenges have receded in mainstream society, they still present significant difficulties and constrain a sense of well-being for Black gay men within the Black community. Better Brothers Los Angeles has sponsored cultural, recreational, and social/networking events, and continues to create a community where Black gay men and women can walk with a greater sense of confidence and pride. Visit www.BetterBrothersLA.com
ABOUT THE DIVA FOUNDATION
The DIVA Foundation -- founded in 1990 by Tony-nominated actress and HIV/AIDS advocate Sheryl Lee Ralph -- is a 501(c)3 non-profit organization, created as a living memorial to the many friends she lost to HIV/AIDS as an original cast member of the Broadway musical “Dreamgirls,” and because of her concern for the threat HIV/AIDS posed to women and children. Over the years, the DIVA Foundation has worked to break the silence and erase the stigma still connected to HIV/AIDS and encourage people to get tested in order to know their HIV status.
Corruption is one of the “biggest global issues of our time” worldwide - It ‘chokes’ development, hinders economic growth, & impedes the fight to alleviate poverty. Democracy is eroded by corruption - yet Democracy itself is one of the few tools we have to resist corruption.
Autocracy depend on support from political & social elites, the military, the bureaucracy & secret police - the people have less influence, less knowledge about how decisions are made, where public money goes.
In a democracy the populace gain more extensive, effective means of detecting & punishing corruption. While citizens cannot force representativess to work in their interest, they can dismiss those who do not. With electoral possible punishment in place, politicians may constrain their greed - those caught abusing their position of power for personal gain can expect to lose elections & hopefully face harsh legal consequences.
A free press is vital to the regulation of the universal temptations of corruption - but the power of Big Money has a weakening effect on the effectiveness of these democracatic checks & balances.
Competition for power encourages opposition parties to ‘check’ each other’s behaviour. It is in the interest of oppositions to uncover any of their opponents engaging in corruption, encouraging greater transparency & encouraging the incumbent government to be seen to engage in the fight against corruption for electoral "image building". To prevent one individual or party from dominating, exploiting and damaging society, power needs to be separated & balanced between different arms of government – the legislative, the executive & judiciary.
By intelligent partipation in democracy one is increasing the probability of the detection/punishment of corruption, in turn reducing the proportion of bribe-takers making decisions that are not in the national interest. This counters the tendency for power & resources to be further concentrated in elite, unscupulous hands. The more complex society becomes the easier it is for corruption to hide - democracy must continue to evolve to keep up with rapid pace of change.
Technology can help.
The Knight of Wands is the projection of the power of fire. We sometimes have trouble letting go of home and giving ourselves to our passion: home is comfy and easy, but ultimately self-limiting. The journey is critical for the artist — get out of the house! Find things that excite your passion, and give yourself to the passion of your artistry.
But...
Do not go unarmed. Your armor is the skill of your technique and your knowledge of what works and what doesn't. Your horse is the speed with which you execute new work. Be like the salamanders which are the coat of arms of this knight: abandon home when it becomes too constraining, and be swift when the rotting log is engulfed in flames.
Your destination is Egypt. Not literally, of course. Egypt is the land of alchemy in the language of Tarot, where lead is transformed to the other metals, and eventually to pure gold. Learn copper's flexibility, and tin's malleability, and silver's mirrored gleam, and iron's rigidity. But recognize that you don't learn these things at home — you learn them on the journey, when your passion is for the art.
The day starts at 7:30 am with a 40-minute drive to the Punta Bandera dock to take a boat on Lago Argentino to Upsala Glacier, a large valley glacier on the eastern side of the Southern Patagonian Ice Field. Its higher portion lies in a disputed territory between Chile and Argentina. The glacier terminus is at Upsala channel of Lago Argentino. The Upsala Glacier is well known for its rapid retreat that has been ongoing since the glacier was first documented in 1810. The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. Another period of even faster retreat started in 2008. As of 2018 Upsala Glacier has retreated to such degree that it no longer constrains its tributary Bertacchi Glacier. The boat then drops us off at the Estancia Cristina, an Argentine cattle and sheep ranch located inside Los Glaciares National Park in Santa Cruz Province. It is here that we take a 4x4 for 45 minutes up a mountain, stop and continue up for another 20 minutes, reaching the summit around 12:30 pm. The ranch was founded in 1914 by Joseph Percival Masters, an Englishman who came to Patagonia with his wife in 1900; Estancia Cristina is named for Masters' daughter Cristina. Located on the coast of Brazo Cristina, a northern channel of Lago Argentino, Estancia Cristina still keeps the history of the Masters family alive. Its lodge has 20 rooms distributed over 5 buildings and it his here that we had lunch followed by a presentation of the traditional Mate, an Argentinean tea and a tour of the ranch. We then take the boat back to Punta Bandera and arrive back at the hotel at 8:00 pm.
The day starts at 7:30 am with a 40-minute drive to the Punta Bandera dock to take a boat on Lago Argentino to Upsala Glacier, a large valley glacier on the eastern side of the Southern Patagonian Ice Field. Its higher portion lies in a disputed territory between Chile and Argentina. The glacier terminus is at Upsala channel of Lago Argentino. The Upsala Glacier is well known for its rapid retreat that has been ongoing since the glacier was first documented in 1810. The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. Another period of even faster retreat started in 2008. As of 2018 Upsala Glacier has retreated to such degree that it no longer constrains its tributary Bertacchi Glacier. The boat then drops us off at the Estancia Cristina, an Argentine cattle and sheep ranch located inside Los Glaciares National Park in Santa Cruz Province. It is here that we take a 4x4 for 45 minutes up a mountain, stop and continue up for another 20 minutes, reaching the summit around 12:30 pm. The ranch was founded in 1914 by Joseph Percival Masters, an Englishman who came to Patagonia with his wife in 1900; Estancia Cristina is named for Masters' daughter Cristina. Located on the coast of Brazo Cristina, a northern channel of Lago Argentino, Estancia Cristina still keeps the history of the Masters family alive. Its lodge has 20 rooms distributed over 5 buildings and it his here that we had lunch followed by a presentation of the traditional Mate, an Argentinean tea and a tour of the ranch. We then take the boat back to Punta Bandera and arrive back at the hotel at 8:00 pm.
Built with Processing
import noc.*;
import hipstersinc.sunflow.*;
import hipstersinc.sunflow.shader.*;
import hipstersinc.*;
void setup() {
size(600, 900, "hipstersinc.P5Sunflow");
noStroke();
}
void draw() {
setupCamera();
background(255);
translate(width/2, 50, 0);
rotateX(QUARTER_PI);
rotateZ(QUARTER_PI);
fill(255);
float scl = 30;
int time = minute();
for(int j =0; j<3; j++){
Vector3D pos = new Vector3D(random(-500,500),random(-1000,300),-1000);
Vector3D rot = new Vector3D(0,0,0);
for(int i=0; i<3000; i++) {
float boxSize = 386+random(200);
pushMatrix();
translate(pos.x,pos.y,pos.z);
rotateX(rot.x);
rotateY(rot.y);
rotateZ(rot.z);
scale(random(.1),random(.4),random(.1));
box(boxSize);
Vector3D add = new Vector3D(random(-1,1),random(-1,1),random(-1,1));
add.mult(scl);
pos.add(add);
pos.z = constrain(pos.z,-800,-1400);
add = new Vector3D(random(-1,1),random(-1,1),random(-1,1));
add.mult(.05);
rot.add(add);
popMatrix();
}
}
saveFrame(int(minute()-time)+"minutesRendering.png");
saveFrame(int(minute()-time)+"minutesRendering.tif");
}
void setupCamera() {
P5Sunflow sunflow = (P5Sunflow) g;
//sunflow.camera.setType(SunflowCamera.PINHOLE);
sunflow.camera.setType(SunflowCamera.THINLENS);
sunflow.camera.setFocalDistance(450);
sunflow.camera.setLensRadius(12f);
sunflow.scene.setAaSamples(12);
}
Burger Man. © Copyright 2022 G Dan Mitchell.
Pedestrians waiting to cross a Manhattan street by the “Burger Man Food Court.”
You might be starting to feel the symptoms of a case of photography whiplash if you’ve been following along recently… as I have alternated photographs from some rather diverse subjects: One day it is a backcountry Sierra Nevada photograph, then next something from New England, and after that another street photograph from Manhattan. By now you know that I don’t constrain myself to one genre or subject, and that has certainly been the case over the past month or two. I will, in fact, continue a bit longer.
This photograph comes from New York City, in case you hadn’t already figured that out. We were there for a few days in August before we headed up to Vermont for a weeklong family event. There’s obviously lots to do in Manhattan and the rest of New York City… but for me that “lots” inevitable includes street photography. The genre can focus on a lot of different things, including the wildly divergent subjects found on urban streets. I may also, as others have noted, provoke you to ask some questions about what you are seeing.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
Better Brothers Los Angeles teamed up with the Diva Foundation at the historic Wilshire Ebel Theater in Los Angeles.
The event is sponsored by Gilead, AIDS Healthcare Foundation, and the generous support of businessman and activist Gerard McCallum.
The Truth Awards will benefit the DIVA Foundation and its partnership with Better Brothers LA with several initiatives aimed at affirming and strengthening the African American LGBTQ community educationally, financially, physically and socially. Proceeds will also benefit the Better Brothers LA Book Scholarship and other programming needs of the organization. For more information about the organization and its scholarship program
ABOUT BETTER BROTHERS LOS ANGELES
Better Brothers Los Angeles was created to provide spaces for Black gay men to network, socialize and be BETTER – at life, love and community. Developing a sense of community has been a challenge for some Black gay men, given the cultural and religious opposition to their sexual orientation. As those challenges have receded in mainstream society, they still present significant difficulties and constrain a sense of well-being for Black gay men within the Black community. Better Brothers Los Angeles has sponsored cultural, recreational, and social/networking events, and continues to create a community where Black gay men and women can walk with a greater sense of confidence and pride. Visit www.BetterBrothersLA.com
ABOUT THE DIVA FOUNDATION
The DIVA Foundation -- founded in 1990 by Tony-nominated actress and HIV/AIDS advocate Sheryl Lee Ralph -- is a 501(c)3 non-profit organization, created as a living memorial to the many friends she lost to HIV/AIDS as an original cast member of the Broadway musical “Dreamgirls,” and because of her concern for the threat HIV/AIDS posed to women and children. Over the years, the DIVA Foundation has worked to break the silence and erase the stigma still connected to HIV/AIDS and encourage people to get tested in order to know their HIV status.
Well, I did it. A month of green leaves taken at home. I'm looking forward to another color challenge - and I won't constrain myself so tightly.
365 Days in Colour: June: "green"
1. Coral Honeysuckle, 2. English Ivy, 3. Sensitive fern, 4. Poison ivy, 5. Hosta leaves, 6. Hosta, 7. Wet branch, 8. holly leaves, 9. The Weeds Ate My Chair, 10. Wet Cotoneaster, 11. Another Hosta, 12. Shasta Daisies, 13. Bush, with Sow Bug, 14. Grapes, 15. Future Tomatoes, 16. Dutchman's Pipe vine, 17. Milkweed, 18. Wet branch, 19. Volunteer Maple Tree, 20. Pyracantha, 21. Morning Ablutions, 22. Horse Nettle, 23. Blooming Hosta, 24. Street Tree, 25. Green Growing Tips of Blue Tree, 26. Afternoon Thunderstorm, 27. Branch, 28. Japanese Beetle, 29. Volunteer Raspberry Bush, 30. Maple Tree - with sparrow
THIS SHORE LIGHTHOUSE GUARDS THE EAST SIDE OF THE ENTRANCE TO LOCH RYAN FROM A POINT JUST SOUTH EAST OF IT. IT STANDS ON CAIRN POINT WHICH PROJECTS INTO LOCH RYAN FROM A NARROW SHELF IN FRONT OF THE MAIN (A77) ROAD; A SOLID PORTION ON THE EAST SIDE OF THE LANTERN CONSTRAINS THE LIGHT TO SEAWARD. THE LIGHTHOUSE WAS BUILT BY ALAN STEVENSON AND FIRST LIT IN 1847. IT WAS CONVERTED TO OIL BURNING IN 1897, AND AUTOMATED (ELECTRIFIED AND MADE 'UNATTENDED') IN 1964.
5th Futurological Symposium On Free Cultural Spaces
Christiania, Copenhagen - 24-26.09.2015
Programm:
www.christianiaskulturforening.dk/2015/FREE%20CULTURAL%20...
Video:
www.youtube.com/watch?v=DSDrL5cjtiw
Photos:
www.flickr.com/photos/sterneck/albums/72157699018464575
Short Report:
www.freeculturalspaces.net/free-cultural-spaces-5th-sympo...
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Free Cultural Spaces
Christiania
Christianias Kulturforening
www.christianiaskulturforening.dk
Free Christiania *
www.flickr.com/photos/sterneck/albums/72157693213298290
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Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german / english) : www.sterneck.net
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The 5th FUTUROLOGICAL SYMPOSIUM
ON FREE CULTURAL SPACES:
Individuals and Collectives within Free Cultural Spaces, (a spiral meeting)
On the 24th, 25th, & 26th of September2015, Free-Town Christiania, in Copenhagen, Denmark, will host the 5th Futurological Symposium On Free Cultural Spaces (FCS): Individuals and Collectives within Free Cultural Spaces.
The term Futurological Symposium is taken from Stanislav Lem’s novel The Futurological Congress (1971) and refers to a deep commitment to developing an evolutionary perspective on Free Cultural Spaces (FCS) or Autonomous Zones. Ruigoord, the Dutch village that originated the Symposium idea, has been an active Free Cultural Space since 1973. Along with ThyLejren (the People’s Lair) and Christiania in Denmark, Ruigoord is one of the longest-lived of the Northern European utopian communities that emerged from the tumult of the Sixties. Its foundational principles, and thus those of the Futurological Symposia, rest on the notion of Homo Ludens, Playful Mankind ― the idea that free and playful interactions between people generate powerful communal impulses.
Since their inception, the Futurological Symposia have aimed to co-create a dynamic, lasting, sustainable, non-hierarchical global network of FCS; to originate a transnational platform for independent cultural experimentation; and to exchange ideas about the forms and content of free cultural circuits. Free Cultural Spaces take many forms, including squatted and hacker communities, pirate radio collectives and stations, free-towns, Eco-villages, perma-culture centers, independent festivals, (semi) nomadic groups, communes and communities, occupied grounds, Unceded Indigenous Territories, etc. When connected as an independent collaborative network, they have the potential to trigger profound changes in individual participants and society at large by disseminating values and practices that can generate new and creative alternatives to mainstream culture.
The 1st Symposium was organized as a response to an increasing oppression of Amsterdam’s counter-cultural communities and focused on the historical projects that had transformed the city into a pioneering Free-Town in the 60s and 70s.
The 2nd Symposium engaged different disciplines (philosophy, futurology, anthropology, politics, ecology, town planning etc.) and welcomed representatives from The Cultural Defense Line of Amsterdam in an attempt to conceptualize and organize a broad association of collective efforts.
The 3rd Symposium was an international gathering aimed at creating a solidarity league and formulating a treaty of mutual cooperation among FCS and the people involved with them. Representatives from Europe ― Belgium, Denmark, France, Germany, The Netherlands, Portugal, Spain, and the UK; Eastern Europe ― Russia; Asia ― Mongolia; North America ― the USA and Canada; and South America ― Colombia, gathered to share their visions. It was during this 3rd Symposium that the first steps were taken towards drafting a “Declaration of the Universal Spaces takes place in Christiania, Denmark on the 24th, 25th and 26th of September Value of Free Cultural Spaces.”
In August of 2014, the 4th Futurological Symposium: Creating Unity in Diversity took place at the Boom Festival, at Idahna-a-Nova Lake, Portugal. The Boom Symposium focused on festival culture. Festivals are playgrounds for the experience of freedom. They help shape group spirit and ethos and facilitate direct human contact among people who are nowadays often connected solely via the Internet. A festival experience often accelerate an individual’s awareness that life offers multiple alternatives to the constrained and constraining experiences that mainstream society advocates. It can establish deep and mutually enriching connections between FCS and experiences of personal liberation. The importance of festivals for the co-creation of a counter-cultural reality links festival culture to autonomous zones around the world.
The Boom Symposium explored the festival parameters of free cultural experience, and linked the Futurological Symposium project to Project Nuevo Mundo, an international network of sustainability-focused communities based in Mexico and Central America. Particularly interesting features of the “free culture” that animates FCS began to emerge, including the importance of developing and/or recognizing rites of passage to the mindsets that recognize the potentialities contained in FCS.
At Christiania, the 5th Symposium will debate the interactive importance of Individual and Collective Aims within Free Cultural Spaces.
The Futurological Symposiums are manifestations of a nomadic, decentralized event. Future Symposiums will take place in different FCS, and will focus on different aspects of FCS networks. The diversity between the projects and perspectives presented at each event will constitute its distinctive feature, with the connections, collaboration, and continuities it generates providing new and exciting synergies to the overall Futurological Symposium project.
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The day starts at 7:30 am with a 40-minute drive to the Punta Bandera dock to take a boat on Lago Argentino to Upsala Glacier, a large valley glacier on the eastern side of the Southern Patagonian Ice Field. Its higher portion lies in a disputed territory between Chile and Argentina. The glacier terminus is at Upsala channel of Lago Argentino. The Upsala Glacier is well known for its rapid retreat that has been ongoing since the glacier was first documented in 1810. The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. Another period of even faster retreat started in 2008. As of 2018 Upsala Glacier has retreated to such degree that it no longer constrains its tributary Bertacchi Glacier. The boat then drops us off at the Estancia Cristina, an Argentine cattle and sheep ranch located inside Los Glaciares National Park in Santa Cruz Province. It is here that we take a 4x4 for 45 minutes up a mountain, stop and continue up for another 20 minutes, reaching the summit around 12:30 pm. The ranch was founded in 1914 by Joseph Percival Masters, an Englishman who came to Patagonia with his wife in 1900; Estancia Cristina is named for Masters' daughter Cristina. Located on the coast of Brazo Cristina, a northern channel of Lago Argentino, Estancia Cristina still keeps the history of the Masters family alive. Its lodge has 20 rooms distributed over 5 buildings and it his here that we had lunch followed by a presentation of the traditional Mate, an Argentinean tea and a tour of the ranch. We then take the boat back to Punta Bandera and arrive back at the hotel at 8:00 pm.
The focus of my research is an examination of the daily lives of South Asian women, specifically in my home city of Karachi, Pakistan. Within my art practice, I draw from my experiences of how I inhabit public and private spaces and rely on research from other South Asian scholars interested in gender, urban space and the women’s right in everyday life. My research into how gender is interwoven with demarcations between and connotations of public and private spaces has led me to deeply examine what private spaces and boundaries mean to women for whom unconditional access to public spaces is still a fantasy. In this exhibition I investigate “phenomenal boundaries”; a term coined by sociologist Bridget Purcell, that is, the boundary not as “real”, but as experienced and constituted (or not) by its inhabitants. My aim is to think about place from the lens of gender and discuss phenomenal boundaries women create in order to feel safer in public spaces, as well as the phenomenal boundaries in the form of fear that women experience when they step into a public place. Examining my relationship with place has led me to a deeper and more expansive definition of boundaries as constraining, or safe, and sometimes both at the same time. In the installation, Transgressing Boundaries, I present my perspective as a upper middle class woman living in Pakistan, negotiating the boundaries of fear, of limited access to public space, and within the private spaces of home. My work draws out how I, and many other women around me, actively engage and negotiate for space and power. One of the ways of doing this is by using the very same boundaries and constraints to empower space for ourselves in the patriarchal world. In this installation, I reflect on the idea of boundaries by curating a private space, built with separators, the ritual of Rangoli, and illustrations of myself. I create a private space that is safe and yet constraining, active and yet passive; a space that maintains boundaries while simultaneously transgress them.
St Peter, Monks Eleigh, Suffolk
Here we are in the Brett Valley, the prettiest part of East Anglia, I think. Nearby Lavenham and Kersey attract all the tourists, but I wonder how many of them ever make it out into these deliciously lovely villages that huddle in the gentle hills between Hadleigh and Stowmarket? A mile or so from its little sister Brent Eleigh, this village has the grander church, but, perhaps, the less interesting one.It certainly has a splendid setting, for this was one of the great wool-producing villages of the Brett Valley in late medieval days, the busiest and richest part of England in the 15th century.
Up from the village high street, St Peter's powerful 15th century tower can be seen for miles around, and it is a pleasant foil to the mightily sombre St Peter and St Paul, Lavenham, a couple of miles beyond it. St Peter's tower is perhaps more typical of the churches of the nearby Stour Valley, with the stair turret climbing beyond the battlements. It certainly makes itself known - in this hilly country, every view is like a painting.
The tower sits close to the road, with a fascinating west doorway carved with little animals. There was a huge rebuilding here in the late 15th century, as you might expect. The top of the tower has deliciously decorated flushwork and a weather vane dated 1969. The graveyard constrains the building tightly to south and north, but then sprawls away to the east. Looking back, you can see that the long chancel is entirely 19th century.
You enter through the south porch. While this part of Suffolk is well-known for some deliciously atmospheric and historically significant interiors, this is something different. There was an overwhelming Victorian restoration here in the full flush of Anglican triumphalism, leaving a fairly urban and even slightly anonymous feeling, although this is obviously a well-loved and cared-for place. It would have been interesting to see this church in the 18th century, when it was full of box pews - the door of one of them survives in the south-west corner, labelled Free for Women. The elegant Early English tub font on pilasters, retaining its Perpendicular font cover, was originally at this end but has since been reset in front of the former north doorway.
The nave was rebuilt at the time of the tower, retaining an arcade from an earlier church, but otherwise being all of a Perpendicular piece. There is a massive set of Queen Anne royal arms above the chancel arch, almost of a size with those at Mildenhall. The chancel is wholly Victorian in construction and character, but it has some fascinating windows by the Ward & Hughes workshop, not a sentiment I hold very often. They depict scenes from the life of Christ - the summoning of the Disciples, the raising of Jairus's daughter - but if you look closely you will see that some of the figures in the scenes have 19th century faces, and are wearing 19th century clothes. These are memorial windows to the figures worked into the scenes, and the brass plaques that name them are also by Ward & Hughes. The best one is the astonishing consumptive figure of Jairus's daughter, who is represented by Winifred Frances Fisher, a 17 year old girl who was suddenly called home in 1892. Her plaque notes that she was perfected in a short time. She lies on her death bed, her silvery curls flowing across the pillow in a perfect moment of late Victorian sentiment. Rather odder is the figure of her father, in full 19th Century formal wear, who peers curiously from behind the backs of St Peter and St Andrew as they are called on the lake shore to give their lives to Christ.
St Peter, Monks Eleigh, Suffolk
Here we are in the Brett Valley, the prettiest part of East Anglia, I think. Nearby Lavenham and Kersey attract all the tourists, but I wonder how many of them ever make it out into these deliciously lovely villages that huddle in the gentle hills between Hadleigh and Stowmarket? A mile or so from its little sister Brent Eleigh, this village has the grander church, but, perhaps, the less interesting one.It certainly has a splendid setting, for this was one of the great wool-producing villages of the Brett Valley in late medieval days, the busiest and richest part of England in the 15th century.
Up from the village high street, St Peter's powerful 15th century tower can be seen for miles around, and it is a pleasant foil to the mightily sombre St Peter and St Paul, Lavenham, a couple of miles beyond it. St Peter's tower is perhaps more typical of the churches of the nearby Stour Valley, with the stair turret climbing beyond the battlements. It certainly makes itself known - in this hilly country, every view is like a painting.
The tower sits close to the road, with a fascinating west doorway carved with little animals. There was a huge rebuilding here in the late 15th century, as you might expect. The top of the tower has deliciously decorated flushwork and a weather vane dated 1969. The graveyard constrains the building tightly to south and north, but then sprawls away to the east. Looking back, you can see that the long chancel is entirely 19th century.
You enter through the south porch. While this part of Suffolk is well-known for some deliciously atmospheric and historically significant interiors, this is something different. There was an overwhelming Victorian restoration here in the full flush of Anglican triumphalism, leaving a fairly urban and even slightly anonymous feeling, although this is obviously a well-loved and cared-for place. It would have been interesting to see this church in the 18th century, when it was full of box pews - the door of one of them survives in the south-west corner, labelled Free for Women. The elegant Early English tub font on pilasters, retaining its Perpendicular font cover, was originally at this end but has since been reset in front of the former north doorway.
The nave was rebuilt at the time of the tower, retaining an arcade from an earlier church, but otherwise being all of a Perpendicular piece. There is a massive set of Queen Anne royal arms above the chancel arch, almost of a size with those at Mildenhall. The chancel is wholly Victorian in construction and character, but it has some fascinating windows by the Ward & Hughes workshop, not a sentiment I hold very often. They depict scenes from the life of Christ - the summoning of the Disciples, the raising of Jairus's daughter - but if you look closely you will see that some of the figures in the scenes have 19th century faces, and are wearing 19th century clothes. These are memorial windows to the figures worked into the scenes, and the brass plaques that name them are also by Ward & Hughes. The best one is the astonishing consumptive figure of Jairus's daughter, who is represented by Winifred Frances Fisher, a 17 year old girl who was suddenly called home in 1892. Her plaque notes that she was perfected in a short time. She lies on her death bed, her silvery curls flowing across the pillow in a perfect moment of late Victorian sentiment. Rather odder is the figure of her father, in full 19th Century formal wear, who peers curiously from behind the backs of St Peter and St Andrew as they are called on the lake shore to give their lives to Christ.
St Peter, Monks Eleigh, Suffolk
Here we are in the Brett Valley, the prettiest part of East Anglia, I think. Nearby Lavenham and Kersey attract all the tourists, but I wonder how many of them ever make it out into these deliciously lovely villages that huddle in the gentle hills between Hadleigh and Stowmarket? A mile or so from its little sister Brent Eleigh, this village has the grander church, but, perhaps, the less interesting one.It certainly has a splendid setting, for this was one of the great wool-producing villages of the Brett Valley in late medieval days, the busiest and richest part of England in the 15th century.
Up from the village high street, St Peter's powerful 15th century tower can be seen for miles around, and it is a pleasant foil to the mightily sombre St Peter and St Paul, Lavenham, a couple of miles beyond it. St Peter's tower is perhaps more typical of the churches of the nearby Stour Valley, with the stair turret climbing beyond the battlements. It certainly makes itself known - in this hilly country, every view is like a painting.
The tower sits close to the road, with a fascinating west doorway carved with little animals. There was a huge rebuilding here in the late 15th century, as you might expect. The top of the tower has deliciously decorated flushwork and a weather vane dated 1969. The graveyard constrains the building tightly to south and north, but then sprawls away to the east. Looking back, you can see that the long chancel is entirely 19th century.
You enter through the south porch. While this part of Suffolk is well-known for some deliciously atmospheric and historically significant interiors, this is something different. There was an overwhelming Victorian restoration here in the full flush of Anglican triumphalism, leaving a fairly urban and even slightly anonymous feeling, although this is obviously a well-loved and cared-for place. It would have been interesting to see this church in the 18th century, when it was full of box pews - the door of one of them survives in the south-west corner, labelled Free for Women. The elegant Early English tub font on pilasters, retaining its Perpendicular font cover, was originally at this end but has since been reset in front of the former north doorway.
The nave was rebuilt at the time of the tower, retaining an arcade from an earlier church, but otherwise being all of a Perpendicular piece. There is a massive set of Queen Anne royal arms above the chancel arch, almost of a size with those at Mildenhall. The chancel is wholly Victorian in construction and character, but it has some fascinating windows by the Ward & Hughes workshop, not a sentiment I hold very often. They depict scenes from the life of Christ - the summoning of the Disciples, the raising of Jairus's daughter - but if you look closely you will see that some of the figures in the scenes have 19th century faces, and are wearing 19th century clothes. These are memorial windows to the figures worked into the scenes, and the brass plaques that name them are also by Ward & Hughes. The best one is the astonishing consumptive figure of Jairus's daughter, who is represented by Winifred Frances Fisher, a 17 year old girl who was suddenly called home in 1892. Her plaque notes that she was perfected in a short time. She lies on her death bed, her silvery curls flowing across the pillow in a perfect moment of late Victorian sentiment. Rather odder is the figure of her father, in full 19th Century formal wear, who peers curiously from behind the backs of St Peter and St Andrew as they are called on the lake shore to give their lives to Christ.