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16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.
ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.
At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.
The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.
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Bronica sq-a, 150mm f/ 3.5, 1x close-up lens, self-developed, kodak tmax 400 film
From my series "Absence"
Well - what I set out to be as a Sautoir (necklace), turned out to be a devant de corsage and sautoir combined. Still - I am pleased with the result so far. The next step is to ink the design in, then it will be highlighted with silver gouache, and then touched up with the ink - and finally colored in.
Developed in collaboration with Sweetwater, and magpul. To replace the ACR in 2016, developed for any eviroment. The IMR-68, or Infanty Modular Rifle -sixty eight, is capable of being fired underwater at a depth of 900 feet, due to Magpuls' recoil system, that takes the bullets initial firing shock and turns it into lateral motion propelling the bolt backwards. Fire modes: semi, two round burst with a rate of fire of 800 rounds per minute. The weapon fires 6.8SPC from a 22 inch barrel, using either sweetwaters' 30 round 'Garde' mag or standard STANAG mags.
This weapon is the standard model two DMR for the US Special forces. Nicknamed the 'Condor' by the operators who use it.
This weapon features my completed 'Garde' 20 round mag.
Credit to: Wes, and KevinTK
Comment, fav, suggestions, are very much appreciated
16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.
ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.
At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.
The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.
Austin 1100/1300 Mk.2 (1967-71) Engine 1098cc S4 Tr
Registration Number NAG 239 L
Code named ADO16 (Austin Drawing Office) the BMC future 1100/1300 range was developed under designer Sir Alec Issigonis and (hydrolastic) suspension by Alex Moulton with styling by Pinninfarina the car remained the mainstay of BMC later the Leyland Group for 11 years.Introduced in 1963 as an Austin = Morris 1100 cc (Wolseley, Riley,MG and Vanden Plas model were added to the range along with a 1275 cc engine. This Mark 2 Austin 1100 continued along with the Morris into Mk.II joined by the 1300 r. The total number of ADO 16's constructed was 2,159,386
Shot at the Catton Hall 02.05.2010 Ref 53-26
16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.
ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.
At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.
The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.
You’re on the Mood Meter!
To celebrate MIT's 150th anniversary, I, along with my colleague Javier, developed MIT Mood Meter that can tell how happy MIT is by putting cameras at four different locations. By gathering and aggregating facial affective information (i.e., smiles) from people around campus, the Mood Meter can estimate and reflect the overall mood of MIT in bad weather days, finals weeks and other eventful days.
The software recognizes faces and analyzes whether a face is smiling or not by drawing green blobs on them. The software draws yellow blob if a face is not smiling.
I had a lot of fun developing the entire computer vision component of this project, and it is great to see so much interest from the community to push this project to the next level. Real time heat map of how MIT is feeling right now is available at: moodmeter.media.mit.edu/
Press:
Smile, MIT! You’re on the Mood Meter
Eye in the Sky: MIT’s Mood Meter is Watching You – Smile
We do learn and develop when we are exposed to those who are greater than we are. Perhaps this is the chief way we mature. - Madeleine L'Engle
Sometimes it's not working out with developing but still a nice result. Shot with a Mamiya 645M on Kodak Porta 400
Pacific Northwest National Laboratory's scientists are developing low enriched nuclear fuels that can be used in conventional nuclear reactors. These developments are key to proliferation countermeasures. This cross-section of an irradiated fuel plate, taken with a remote operated Nikon 200MA inverted microscope, shows uranium-molybdenum metal grains resting on aluminum cladding material below a layer of zirconium.
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.
At Friday Bridge.
Bronica SQ-A camera
Zenzanon PS 150mm f/4 lens
Foma Fomapan Creative 200 medium format 120 film
Home developed in FirstCall R09.
Heliconia Lodge Trail, Amazon, Maynas Province, Loreto Region, Peru
19:15 15 June 2014
Phylum Arthropoda
Class Insecta
Order Hemiptera - True Bugs
Or, the wonderful ring. Okay, not so wonderful, it's very much the same as the cylindrical model, but this one is made from a ring, a flat doughnut. Since we're all having an annus horribilis at the hands of an anus terribilis, I reckon I can have an annulus mirabilis if I want to.
Besides having the three points of stability, you can also keep rotating it inwards (or outwards) endlessly.
Nikon F, Nikkor 50mm f/2, TRIX 400 at iso 200, EV 15. Developed on HC-110 G, printed on ilfobrome gallerie FB grade 2.
It's better with a paraboly thing than a circle arc. For those of you keeping score at home, the top of the curve is one quarter of the height of its triangle.
PDF of the crease pattern.
Hey, Goran, I made this with you and copper in mind. (In my mind, there was a lot of verdigris, but that's kind of status quo.)
Highbridge, The Bronx, New York City, New York, United States
Highbridge, The Bronx, New York City, New York, United States of America
Summary
The Union Reformed Church of Highbridge in the South Bronx was constructed in 1887-88 to the design of Alfred E. Barlow, a little-known architect who began his career in suburban residences. Highbridgeville (later known as Highbridge) developed along the high ridge of land along the Harlem River located to the south and east of High Bridge (1838-48, John B. Jervis, engineer), part of the Croton Aqueduct system that brought New York City its first adequate water supply. The village was initially populated with the workers (mostly Irish) who built the aqueduct, bridge, and also the railroad along the river. A Protestant “Union Sunday-School of Highbridgeville” was established in 1860, and a chapel was built in 1866 on Highbridge (later Ogden) Avenue.
After 1874, the church became affiliated with the Reformed Church of America, and became known as the Union Reformed Church of Highbridge. As the congregation grew, a larger building was needed. The significant firm of D.C. Weeks & Son was the builder. Built of random-coursed, rockfaced gneiss ashlar with red sandstone trim, the church is one story with a taller square bell tower at the southwest corner. The Ogden Avenue facade has a steeply-pitched gable and three round-arched windows with voussoirs, connected to the tower by a tourelle, and both side elevations have buttresses and round-arched windows with leaded stained glass.
The eastern (altar) end contains a leaded stained-glass rose window (1889) manufactured by the Tiffany Glass Co., with a geometric design composed of seven circular motifs. The Union Reformed Church of Highbridge (now Highbridge Community Church), one of the Bronx’s significant 19th-century religious structures, is also one of the finest surviving churches in New York City in the Richardsonian Romanesque style, named after one of the greatest American architects, Henry Hobson Richardson (1838-1886). It is particularly unusual within New York as a more informal, suburban example of the style.
Union Reformed Church of Highbridge
Highbridgeville (later known as Highbridge) in the South Bronx developed on the high ridge of land along the Harlem River located to the east of High Bridge (1838-48, John B. Jervis, engineer), which was constructed as part of the Croton Aqueduct system that brought New York City its first adequate fresh water supply. The village was initially settled by the workers who built the Croton Aqueduct and High Bridge, as well as the railroad along the river. Almost entirely Irish originally, these workers were followed later by other European and Jewish immigrants. The Bronx shore of the Harlem River began to be subdivided in the later 19th century for building lots along the main thoroughfare, Highbridge Avenue. It was re-named Ogden Avenue in 1876, in honor of William B. Ogden (1805-1877), the first mayor of Chicago and first president of the Union Pacific Railroad, who after his retirement owned a Highbridge estate called “Villa Boscobel.” Initially, there were few neighborhood amenities and but one small district school; this was replaced by Public School 91 (1889, George W. Debevoise), 1257 Ogden Avenue.
As no church was located within several miles of Highbridgeville, the area’s Protestants organized a religious congregation in October 1860, which was led by William Newton Clark and incorporated in 1864. The “Union Sunday-School of Highbridgeville” held classes in various neighborhood buildings until funds were donated to purchase property and to construct a chapel on Highbridge Avenue. After its completion in 1866, it became the religious center of the community with regular Sunday School meetings. In order to establish a formal church, the congregation called a meeting in June 1874 to vote on a specific Protestant denomination. The Reformed Church of America was chosen and, after official recognition, the church became known as the Union Reformed Church of Highbridge. From 1870 to 1884, the church was served by the pastor of the Mott Haven Reformed Church, Rev. Hasbroek DuBois. After 1884, with the installation of its own minister, Daniel Hoffman Martin, the membership of the church grew rapidly and a larger building was needed. Additional property was purchased, the old chapel was moved to the east, and a new church edifice constructed between December 1887 and its dedication in December 1888, at a contracted cost of $18,000. The rockfaced gneiss church, measuring 43 by 70 feet, was designed by Alfred E. Barlow in the Richardsonian Romanesque style, then at the height of its popularity. The New York Times called it a “new and picturesque home.” D.C. Weeks & Son was the builder. This significant firm, established in 1840 by DeWitt Clinton Weeks and including his son, Francis
M. Weeks, as a partner in the 1860s, was responsible for the construction of numerous mansions, churches, institutions, and office buildings in New York and elsewhere, including St. Thomas Church (1865, Richard M. Upjohn; demolished), Fifth Avenue and West 53rd Street; the first American Museum of Natural History (1874-77, Calvert Vaux and Jacob Wrey Mould; demolished); World (Pulitzer) Building (1888-90, George B. Post; demolished), Park Row and Frankfort Street; Biltmore, the George W. Vanderbilt Estate (1888-95, Richard Morris Hunt), Asheville, North Carolina; and Morton F. Plant Residence (1903-05, Robert W. Gibson), 651 Fifth Avenue.
The Richardsonian Romanesque style was named after one of America’s greatest architects, Henry Hobson Richardson (1838-1886), who created an American interpretation of the Romanesque based on French and Italian prototypes. His Trinity Church (1873-77), Boston, as well as his many libraries and other buildings, firmly established Richardson’s professional reputation and launched the popularity and influence of the style. Following Richardson’s precedent, many architects employed it in the 1880s and 90s for a wide variety of building types, ranging from mansions to courthouses, university structures, and railroad stations, and including many notable churches. The style was characterized by its appearance of massiveness and such features as rockfaced masonry, round-arched fenestration, and steeply pitched roofs with towers and dormers. The noted architectural critic Montgomery Schuyler expressed the opinion in 1903 that “the Romanesque, in the Richardsonian version of it, gave a more rational promise in church building than in almost any other of the phases... there is very much to be said in favor of Romanesque as the most suitable style for church architecture.”
The Union Reformed Church of Highbridge is one of the finest remaining examples of the style in New York City. The major features of the church, including the asymmetrical massing of the forms, the bell tower, the arched openings, and the rockfaced gneiss stonework accented by red sandstone, combine to create a masterful, skillfully articulated, and characteristic example of the Richardsonian Romanesque style. It is particularly unusual within New York City as a more informal, suburban example of the style. A contemporary example outside of New York is St. Mary’s-in-Tuxedo (1887-88, William A. Potter), Tuxedo Park. Only a few major, fully-urban examples of the style survive in Manhattan, including Holy Trinity (later St. Martin’s) Episcopal Church, Rectory, and Parish House (1887-89, Potter), 230 Lenox Avenue in Harlem; and St. Agnes Parish House (now part of Trinity School)(c. 1890-92, Potter), 121 West 71st Street.
In 1889, a leaded stained-glass rose window manufactured by the Tiffany Glass Co., with a geometric design composed of seven circular motifs, was installed in the rear (altar end) of the Union Reformed Church of Highbridge. Louis Comfort Tiffany (1848-1933), originally a painter and later a decorator, started working in stained-glass windows in the mid-1870s and established the Tiffany Glass Co. in 1885. The firm’s early work was largely in the development of ornamental stained glass for windows, which were notable for their brilliant colors and the varied textures within the glass. Robert Koch, in his study Louis C. Tiffany, Rebel in Glass (1982), noted that “the best Tiffany windows made prior to 1890 are generally those of purely decorative and geometric design. Examples of such ornamental use of glass may be seen in... the windows of the Union Reformed Church of Highbridge.” Koch further noted the increasing rarity of in situ Tiffany windows in New York, based on an 1893 listing of churches and public buildings in the U.S. containing Tiffany work – “since that time more than half of the churches in New York in which Tiffany had a hand in the decoration have been demolished.”
Alfred E. Barlow, Architect
Little is known of the background of architect Alfred E. Barlow (1855-1926), who was apparently born in Brooklyn, the son of English-born machinist John Barlow. His career, however, strongly parallels that of fellow architect William Augustus Bates. Barlow was first listed in New York and Brooklyn directories as an architect in 1877, thereafter with an office in Manhattan and residence in Brooklyn. Bates and Barlow were two of the founders (along with Thomas Hastings and Cass Gilbert, etc.) in 1879 of the Architectural Sketch Club, which became the Architectural League of New York the following year. A League publication in 1906 stated that “most of [the founders] were at that time in the employ of Herter Brothers,” one of the nation’s leading interior decoration firms. Bates (1853-1922), the son of a New Jersey lumber merchant, was born in Michigan, educated in Cleveland, and entered Herter Brothers as a draftsman in 1872, where he remained until around 1881, working on one of the most noteworthy commissions of the day -- the decoration of William H. Vanderbilt’s twin mansions (1879-82, Trench & Snook; demolished), Fifth Avenue and West 51st Street. Bates established his own architectural practice in 1882, which specialized in country estates, resort buildings, and suburban houses. He was one of the leading (if lesser known) East Coast proponents of the Queen Anne style (closely influenced by English architect Richard Norman Shaw), as well as the Shingle style. Both Bates and Barlow contributed designs to William T. Comstock’s publication American Cottages (1883), and numerous of Bates’s designs around the country were published in contemporary architectural periodicals, as were some of Barlow’s, including “Astonfield” (1882), a Queen Anne style country estate for Samuel Rhodes. Bates designed Wentworth Hall and Cottages (1881-89), a large resort complex in the White Mountains at Jackson, New Hampshire, as well as the Wentworth residence (1891-92); and at least five houses (1888-99) in the exclusive enclave of Tuxedo Park, New York. The wealthy pharmaceutical businessman and real estate developer William Van Duzer Lawrence (who founded Sarah Lawrence College in 1926), a friend of Bates from Michigan, hired him in 1890 as lead architect for the planned suburban community of Lawrence Park in Bronxville, New York. Bates moved here by 1893, and worked in the community until his death in 1922, including as a partner in the firm of Bates & [Kenneth G.] How after 1910. Bates’s houses (at least 35 of which are extant) were mostly in variants of the Shingle style.
The exact nature of the collaboration between Barlow and Bates is unknown, although they shared the same office address from 1885 until 1910, and an architectural directory listed them as “Barlow & Bates” in 1892. It is probable that Barlow performed work for Bates. They were also associated architects for the Mission Revival style Hotel Gramatan (1905; demolished) in Lawrence Park (which became Bates’s residence). New York’s Great Industries in 1884 had described Barlow as a partner in the firm of Charles W. Romeyn & Co., along with Arthur Jay Stever, working on projects such as Alfred Corning Clark’s enormous Dakota Stables building (1883; demolished) at Broadway and West 75th Street. There are not many known independent commissions of Alfred E. Barlow, though a few of them were prominent. He designed five rowhouses (1887) at 15-23 West 120th Street; the Ivy Club remodeling (1887; demolished), Princeton University; the Berkeley Lyceum (1887-88; demolished), 21 West 44th Street, a theater for amateur players; the Union Reformed Church of Highbridge (1887-88); the medieval chateau-inspired Samuel R. Smith Infirmary (1888-90), 101 Stanley Avenue, Staten Island; a stable/loft building (1891) at 19 Vestry Street; a neo-Federal style town house (1904) at 868 Lexington Avenue; and a store-and-loft building (1907) at 49 West 45th Street. In 1910, Barlow was living in Red Bank, New Jersey, he declared bankruptcy in 1916, he had moved by 1920 to Long Island City, and died in St. Petersburg, Florida.
Later History of the Church
A large stone parsonage was constructed nearby in 1890, which remained in use until 1925 – it was sold and moved down the block, extant today at No. 49 West 167th Street. Due to the growth of the congregation, utilitarian additions were made to the rear of the church (apparently in 1901 and 1913). Rev. Daniel G. Verway served as the pastor for thirty years, until 1946. The old chapel building was demolished for an ambitious educational building (Walter J. Campbell, architect) planned with quarters for the pastor and sexton and administrative offices – it was never completed and only a utilitarian two-story, brick-clad Sunday School building was constructed in 1924 at the eastern end of the church property (this structure and the easternmost 50 feet of the lot are excluded from this designation).
The 19th-century character of Highbridge, composed mostly of small homes, changed greatly with the construction of large apartment buildings in the 20th century, spurred in part by the Jerome Avenue elevated railroad in 1918 and the subway (with a stop at the Grand Concourse and 161st Street) in 1933. The Art Deco style Noonan Plaza Apartments (1931, Horace Ginsberg and Marvin Fine), bordering the church’s property to the south, is one of the premiere complexes in the neighborhood. After World War II, the southwest Bronx, including Highbridge and the area of the Grand Concourse, began to suffer a severe decline. The rapid de-industrialization of the city, increasing suburbanization, heavy-handed urban renewal policies, disinvestment by area landlords, and the redlining of much of the Bronx by local banks all contributed to the economic downturn of the area. The owners of Noonan Plaza defaulted in 1976, and during the 1970s, many apartment buildings were abandoned by their owners and were set on fire, and the neighborhood suffered a catalogue of ills until it began to stabilize in the 1980s. The demographic composition of the Highbridge neighborhood also underwent substantial changes. The area’s residents, largely of European Jewish extraction, began to move to suburban areas, and the west Bronx became a diverse urban community as African-Americans and Latin Americans settled here. By the 1980s, the neighborhood began to experience renewal, as seen by the rehabilitation of Noonan Plaza in 1980-82 for federally subsidized apartments. The former Union Reformed Church of Highbridge, now Highbridge Community Church (sharing its building with Emmanuel Presbyterian Church) stands as a poignant reminder of the earlier history of the Highbridge neighborhood, and is one of the most distinctive churches in the Bronx and New York City.
Description
Built of random-coursed, rockfaced gneiss ashlar with red sandstone trim, the Union Reformed Church of Highbridge is a one-story structure with a taller square bell tower at the southwest corner. The wide, steeply-pitched roof (originally covered by slate shingles, now asphalt shingles) terminates at the eastern end in a polygonal louvered cupola with a tall conical roof. West (Ogden Avenue) Facade: The west facade, rising from a stone foundation/retaining wall with a stone watertable, consists of the main body of the church with a steeply-pitched gable and three round-arched windows with voussoirs, connected to the bell tower by a tourelle with a conical roof (capped by roofing tiles) and a pierced parapet wall. The base of the tourelle was originally columnar, but was re-built battered. The three windows have geometric-patterned leaded stained glass (covered by plexiglass panels). The gable, tourelle, and tower are pierced by slit windows. A utility meter is attached to the base of the church.
The peak of the gable bears an historic ornamental wrought-iron cross. Tower: A cornerstone at the base of the tower bears the date “1888.” Each face of the top section of the tower (which contains an 1866 bell, from the earlier chapel) has large corner columns above a stone molding, two round sandstone arches (originally with louvers, many of which survive) supported by sandstone colonnettes, surmounted by a checkerboard-patterned spandrel and a corbelled stone cornice. The eaves are bracketed. The pyramidal roof of the tower was originally covered with slate shingles (now asphalt shingles); the base of the original ornamental weathervane is extant. South Facade: The main entrance is in the base of the tower, approached by three bluestone steps. The round-arched surround consists of a compound-molded sandstone arch, surmounted by rockfaced sandstone voussoirs, and supported by triple rockfaced sandstone columns with molded capitals, edged by quoins. There are non-historic wooden double doors.
The wooden tympanum is ornamented by carved foliation surrounding a circle. A small Gothic lantern hangs above the entrance. The main body of the church has stone buttresses alternating with round-arched windows with leaded stained glass (covered by metal-mesh grilles) and voussoirs. The east end flares out into a polygonal wing capped by a peaked polygonal roof that joins the main gable roof; a stone chimney rises from the juncture with this wing. There is a non-historic metal door in the basement at this end. North Facade: The north entrance, at the western end, is located in a pedimented portico, supported by bracketed stone piers, with grey slate shingle facing and a peaked roof. The round-arched entrance surround consists of a sandstone tympanum surmounted by double rows of rockfaced sandstone voussoirs, supported by triple rockfaced sandstone columns with molded capitals. The spandrel has stone corbels supporting a molded cornice. There are three bluestone steps and non-historic wooden double doors.
The main body of the church has stone buttresses alternating with round-arched windows with leaded stained glass (covered by metal-mesh grilles) and voussoirs. Two non-historic lanterns are placed next to the buttresses. The east end flares out into a polygonal wing capped by a peaked polygonal roof that joins the main gable roof. East Facade: The original east facade, clad in red brick, consists of the main central body of the church (now partly obscured) having a taller central pavilion with a hipped roof that rises to the polygonal louvered cupola, flanked by the polygonal wings. The central pavilion contains a Tiffany Glass Co. leaded stained-glass rose window (1889), composed of a geometric design with seven circular motifs (covered by a square metal-mesh grille). The southern polygonal wing has a paneled wooden door and a window (both covered with metal-mesh grilles). There are two utilitarian one-story additions (apparently 1901 and 1913), clad in brick (the northernmost is parged with concrete) and pierced by windows and a door.
Property Features: Along Ogden Avenue there is a stone post with non-historic wrought-iron gates, and an historic wrought-iron fence (with signage) atop the stone retaining wall to the north of church; and bluestone steps, stone posts, historic wrought-iron gates, and an historic wrought-iron fence atop the stone retaining wall to the south. On the south side are bluestone stairs (with iron railings) leading to the basement at the east end; bluestone stairs with cheek walls and wrought-iron railings leading to the entrance; a low rubble stone retaining wall bordering the lawn; and a flagstone and concrete walkway. On the north side are an asphalt driveway; a flagstone walkway by the church; and a yard. On the east side are an asphalt parking lot, yard, and a walkway.
- From the 2010 NYCLPC Landmark Designation Report
My friend owns a restaurant in a building that used to house a dentist's office upstairs. It's been gone for decades but some remnants of the business still remained, including these X-Ray developing instructions.
Ridi Bazar is a small pilgrimage town at the confluence of Kali Gandaki and Riri Khola
Nearby cities: Palpa, Butwal, BAGLUNG,PAINU,GHIURA, (LEKHANATH SHARMA)
Coordinates: 27°56'9"N 83°26'19"E
______________________________
Cremation is the combustion, vaporization and oxidation of dead bodies to basic chemical compounds, such as gases, ashes and mineral fragments retaining the appearance of dry bone. Cremation may serve as a funeral or post-funeral rite that is an alternative to the interment of an intact dead body in a coffin or casket. Cremated remains, which do not constitute a health risk, may be buried or interred in memorial sites or cemeteries, or they may be retained by relatives and dispersed in various ways. Cremation is not an alternative to a funeral, but rather an alternative to burial or other forms of disposal.
In many countries, cremation is usually done in a crematorium. Some countries, such as India and Nepal, prefer different methods, such as open-air cremation.
HISTORY
ANCIENT
Cremation dates from at least 20,000 years ago in the archaeological record, with the Mungo Lady, the remains of a partly cremated body found at Lake Mungo, Australia.
Alternative death rituals emphasizing one method of disposal of a body - inhumation (burial), cremation, or exposure - have gone through periods of preference throughout history.
In the Middle East and Europe, both burial and cremation are evident in the archaeological record in the Neolithic era. Cultural groups had their own preferences and prohibitions. The ancient Egyptians developed an intricate transmigration of soul theology, which prohibited cremation, and this was adopted widely among other Semitic peoples. The Babylonians, according to Herodotus, embalmed their dead. Early Persians practiced cremation, but this became prohibited during the Zoroastrian Period. Phoenicians practiced both cremation and burial. From the Cycladic civilisation in 3000 BC until the Sub-Mycenaean era in 1200–1100 BC, Greeks practiced inhumation. Cremation appeared around the 12th century BC, constituting a new practice of burial, probably influenced by Anatolia. Until the Christian era, when inhumation again became the only burial practice, both combustion and inhumation had been practiced, depending on the era and location. Romans practiced both, with cremation generally associated with military honors.
In Europe, there are traces of cremation dating to the Early Bronze Age (c. 2000 BC) in the Pannonian Plain and along the middle Danube. The custom becomes dominant throughout Bronze Age Europe with the Urnfield culture (from c. 1300 BC). In the Iron Age, inhumation again becomes more common, but cremation persisted in the Villanovan culture and elsewhere. Homer's account of Patroclus' burial describes cremation with subsequent burial in a tumulus, similar to Urnfield burials, and qualifying as the earliest description of cremation rites. This may be an anachronism, as during Mycenaean times burial was generally preferred, and Homer may have been reflecting the more common use of cremation at the time the Iliad was written, centuries later.
Criticism of burial rites is a common form of aspersion by competing religions and cultures, including the association of cremation with fire sacrifice or human sacrifice.
Hinduism and Jainism are notable for not only allowing but prescribing cremation. Cremation in India is first attested in the Cemetery H culture (from c. 1900 BC), considered the formative stage of Vedic civilization. The Rigveda contains a reference to the emerging practice, in RV 10.15.14, where the forefathers "both cremated (agnidagdhá-) and uncremated (ánagnidagdha-)" are invoked.
Cremation remained common, but not universal, in both Ancient Greece and Ancient Rome. According to Cicero, in Rome, inhumation was considered the more archaic rite, while the most honoured citizens were most typically cremated - especially upper classes and members of imperial families.
Christianity frowned upon cremation, both influenced by the tenets of Judaism and as an attempt to abolish Graeco-Roman pagan rituals. By the 5th century, the practice of cremation had practically disappeared from Europe.
In early Roman Britain, cremation was usual but diminished by the 4th century. It then reappeared in the 5th and 6th centuries during the migration era, when sacrificed animals were sometimes included with the human bodies on the pyre, and the deceased were dressed in costume and with ornaments for the burning. That custom was also very widespread among the Germanic peoples of the northern continental lands from which the Anglo-Saxon migrants are supposed to have been derived, during the same period. These ashes were usually thereafter deposited in a vessel of clay or bronze in an "urn cemetery". The custom again died out with the Christian conversion of the Anglo-Saxons or Early English during the 7th century, when inhumation became general.
MIDDLE AGES
Throughout parts of Europe, cremation was forbidden by law, and even punishable by death if combined with Heathen rites.[6] Cremation was sometimes used by authorities as part of punishment for heretics, and this did not only include burning at the stake. For example, the body of John Wycliff was exhumed years after his death and cremated, with the ashes thrown in a river, explicitly as a posthumous punishment for his denial of the Roman Catholic doctrine of transubstantiation.
On the other hand, mass cremations were often performed out of fear of contagious diseases, such as after a battle, pestilence, or famine. Retributory cremation continued into modern times. For example, after World War II, the bodies of the 12 men convicted of crimes against humanity at the Nuremberg Trials were not returned to their families after execution, but were instead cremated, then disposed of at a secret location as a specific part of a legal process intended to deny their use as a location for any sort of memorial. In Japan, however, erection of a memorial building for many executed war criminals, who were also cremated, was allowed for their remains.
HINDUISM AND OTHER INDIAN ORIGN RELIGIONS
Religions such as Hinduism, Jainism, and Sikhism practice cremation. In Buddhism cremation is acceptable but not mandated. The founder, Shakyamuni Buddha was cremated. For Buddhist spiritual masters who are cremated, one of the results of cremation are the formation of Buddhist relics.
A dead adult Hindu is mourned with a cremation, while a dead child is typically buried. The rite of passage is performed in harmony with the Hindu religious view that the microcosm of all living beings is a reflection of a macrocosm of the universe. The soul (Atman, Brahman) is the essence and immortal that is released at the Antyeshti ritual, but both the body and the universe are vehicles and transitory in various schools of Hinduism. They consist of five elements - air, water, fire, earth and space. The last rite of passage returns the body to the five elements and origins. The roots of this belief are found in the Vedas, for example in the hymns of Rigveda in section 10.16, as follows:
Burn him not up, nor quite consume him, Agni: let not his body or his skin be scattered,
O all possessing Fire, when thou hast matured him, then send him on his way unto the Fathers.
When thou hast made him ready, all possessing Fire, then do thou give him over to the Fathers,
When he attains unto the life that waits him, he shall become subject to the will of gods.
The Sun receive thine eye, the Wind thy Prana (life-principle, breathe); go, as thy merit is, to earth or heaven.
Go, if it be thy lot, unto the waters; go, make thine home in plants with all thy members.
— Rigveda 10.16
The final rites, in case of untimely death of a child, is usually not cremation but a burial. This is rooted in Rig Veda's section 10.18, where the hymns mourn the death of the child, praying to deity Mrityu to "neither harm our girls nor our boys", and pleads the earth to cover, protect the deceased child as a soft wool.
SATI
The act of sati refers to a funeral ritual in which a widowed woman committed suicide on the husband's funeral pyre. While a mention of self-immolation by one of several wives of an Indian king is found in a Greek text on India, along with self-immolation by widows in Russia near Volga, tribes of Thracians in southeast Europe, and some tribes of Tonga and Fiji islands, vast majority of ancient texts do not mention this practice. Rare mentions of such cremations in aristocratic circles appear in texts dated to be before the 9th century AD, where the widow of a king had the choice to burn with him or abstain. Ancient texts of Hinduism make no mention of Sati; its early medieval era texts forbid it, while post 10th century medieval era texts partly justify it and criticize the practice. The practice of sati, grew after 1000 CE, becoming a particularly significant practice by Hindus in India during the Islamic wars of conquest in South Asia.
This practice was made illegal in 1829 during the British colonial rule of India. After gaining independence from British colonial era, India passed a series of additional laws. The Indian Sati Prevention Act from 1988 further criminalised any type of aiding, abetting, and glorifying of sati. In modern India, the last known case of Sati was in 1987, by Roop Kanwar in Rajasthan. Her action was found to be a suicide, and it led to the arrest and prosecution of people for failing to act and prevent her suicide during her husband's cremation.
BALI
Balinese Hindu dead are generally buried inside the container for a period of time, which may exceed one month or more, so that the cremation ceremony (Ngaben) can occur on an auspicious day in the Balinese-Javanese Calendar system ("Saka"). Additionally, if the departed was a court servant, member of the court or minor noble, the cremation can be postponed up to several years to coincide with the cremation of their Prince. Balinese funerals are very expensive and the body may be interred until the family can afford it or until there is a group funeral planned by the village or family when costs will be less. The purpose of burying the corpse is for the decay process to consume the fluids of the corpse, which allows for an easier, more rapid and more complete cremation.
ISLAM
Islam strictly forbids cremation. Islam has specific rites for the treatment of the body after death.
WIKIPEDIA
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Alte Chirurgie am Safranberg, Ulm
Camera: Leica M6 + Voigtländer Nokton 35mm f1.4
Film: Kodak TriX pushed to ISO1600
Developing: Rodinal 1+100, 120min semi-stand
Scanner: Plustek OpticFilm 7600i SE
Sunset in black and white - Scarisbrick,West Lancashire
Yashicaflex 'C' Neopan Acros 100 developed in Kodak D76 for 9 and a half minutes at 1:1 (20c)
Developing a novel way of mapping coral reefs with laser and underwater photography.
Harbour School x MakerBay
Ths.edu.hk
MakerBay.org
秋日的某天 (不是只有一天)．一如以往．走走拍拍．生活+點滴．人事+光影．是記錄的事實．也是回憶的準備．2015 秋天的汐止小鎮…
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註：「小鎮」要比大都會好多了，光是 "人少"、"無所謂流行" 以及 "不會太濃的人情味"，就好得剛好到位。
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Notes:
1. With a greedy mind, film tail was torn apart from spool winding the last frame... (darn!)
Luckily, I got a changing bag (暗袋), and reusable cartridges that helped me from such a situation :-)
2. Yes, with fresh film, plus a little over (exposure), this vintage RF camera works well (to me )... == [使用新鮮的底片，並稍微地 over (過曝) 一些些，這部老相機拍出來的影像似乎還 OK。]
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* PS - This roll got exposed on 2015/09/05, developed/scanned by a local studio 天虹數位影像 2015/09/12, and re-scanned with "Epson Perfection V600 Photo" on 2015/09/13.
Designer: Huang Zongrui (黄宗瑞)
1980, September
Develop the spirit for the bitter struggle of doing pioneering work
Fayang jianku fendoude chuangye jingshen (发扬艰苦奋斗的创业精神)
Call nr.: E13/303 (Landsberger collection)
More? See: chineseposters.net