Here you can see that through the use of some interesting lift arms and a pneumatic piston, I can change the points quite easily.

There is actually a second piston and set up for the other half of the track that works in tandem, so the train can effectively change tracks regardless of the direction of travel.

My deal with Awe, in picture form.

 

For some reason it got shrunk. You'll have to click All Sizes to see it properly.

Rounding up photographers and models can be a challenge, but these two make it work.

I could see the tower of a church from the main road. I saw it from a good two miles away, towering over the mature trees of a wood.

 

It must be one heck of a church I thought, turning down the lane leading to it, to find the lane lead to Worstead.

 

Worstead: that explained it. A village so associated with wool, a type of woolen cloth is named after it.

 

Beside the church is the market square, lined with fine buildings, and to the west, St Mary. A huge cathedral of a church. After snapping the village, I walk to the porch on the south side and go in, smiling.

 

I was met by a warden who saw the look of delight on my face, and took me on a grand tour. How lucky was I?

 

------------------------------------------

 

In the reign of Edward the Confessor, the lordship of this town belonged to the abbot of St. Bennet of Holm, with 2 carucates and an half of land, 8 villains, 30 borderers, 2 carucates in demean, 3 among the tenants, 8 acres of meadow, paunage for 16 swine, a mill, and 3 socmen, valued at 60s. and at the survey at 4l.

 

There were 2 churches with 28 acres, valued therein, and was for the provision of the monks.

 

At the survey, Robert, an officer of the cross-bow-men, held it of the abbot; it was one leuca long, and half a leuca broad and a perch, and paid 18d. gelt. St. Bennet's abbey held also in the said town, in King Edward's time, a carucate of land, with 2 villains, 10 borderers, one carucate in demean, and 2 among the tenants and 2 acres of meadow, &c. valued at 40s. (fn. 1)

 

Odo, son of Robert, the cross-bowman, assumed, according to the custom of that age, the name of Warsted, from this his town and lordship; he held it of the abbot by one knight's fee, being the gift of King Canute to the abbey on his foundation of it. (fn. 2)

 

This Odo. and Robert his son, gave lands to the abbey, and the mill at Bordestede. He was father of Peter, whose son Philip held one fee in the 20th of Henry III.

 

Nicholas son of Philip de Wursted, gave to the abbot all his lands here by deed, dated in the 2d of Edward I. Henry being then abbot.

 

Richard de Worstede was also a son of Odo, and had by Margaret his wife, daughter of Robert de Manteby, Sir Robert de Worstede, who died sans issue.—This Sir Robert and Sir John de Worstede, were witnesses to a deed of confirmation, of Jeffrey, son of Bartholomew de Glanvile, to Bromholm priory.

 

The temporalities of the abbot in 1428, were 3l. 12s. ob. q. This came at the Dissolution, to the see of Norwich; and in the 3d and 4th of Philip and Mary, was farmed of the Bishop, at 41s. and 3d. per ann. by Bertram Themilthorp.

 

The prior of Pentney had a lordship, granted to that house by John de Worstede, containing a messuage, a carucate of land, a mill, 50s. rent, 10 acres of wood, with the whole pond of Worstede and Crowbeck, and the whole alder carr, regranted by Simon the prior, to John for life.

 

In the year 1328, the temporalities of this prory were valued at 8l. 10s. 4d.—On the Dissolution, May 22, in the 36th of Henry VIII. it was granted to John Spencer.

 

The prior also of Hempton had a manor, valued with a mill, &c. at 4l. 8s. 11d. which on the Dissolution was granted as above, to John Spencer. Leonard Spencer and Catherina his wife, sold both these lordships to Robert Paston, and Thomas Thimblethorp, with their appertenances in Sloley, Westwick, &c. on June 3, in the 8th of Elizabeth; and after they are said to be aliened to — Utber, and so to — Mitson.

 

Matthew de Gunton had a manor here which he granted to William, son of William de Stalham, on his marriage with Isabel his daughter, being 49s. 3d. rent. This came to Sir Jeffrey Wythe, by his marriage with the daughter and heir of Sir William Stalham.

 

In the 9th of Edward II. Nicholas de Salicibus or of the Willows, and Elen his wife, conveyed to Jeffrey Wythe, and Isabel his wife, the 5th part of 28 messuages, 114 acres of land, 5 of turbary, with 27s. and 8d. rent here, in Dilham and Smalburgh, settled on Isabel; and Wynesia, widow of Sir Oliver Wythe, released to William Dunning of this town, all her right of dower in this town, and Westwick.

 

After this it came to Sir William Calthorp, by the marriage of Amy, daughter and heir of Sir John Wythe, and was sold by Edward Calthorp, Esq. of Kirby Cane, December 8, in the 21st of Henry VIII. to Leonard Spencer of Blofield, Gent. for 40l. in hand paid, and 40 marks more on full assurance being made. John Spencer was lord in the 2d of Edward VI. and Leonard Spencer in 1572.

 

Erpingham and Gaines's manor in Irstede, held by John Gross, Esq. at his death in 1408, which he left to his widow Margaret, extended into this town. John Skarburgh, Gent. had a prœcipe to deliver it to Miles Bayspoole, Gent. in the first of James I.

 

Before this, in the 17th of Elizabeth, William Chytham conveyed it to William Tymberley. The Grosses were early enfeoffed of a lordship under the abbot of Holm. Reginald le Gross was lord in the reign of Henry III. and had a charter for a weekly mercate on Friday.

 

Sir Oliver de Ingham held here and in Ingham, a knight's fee of Robert de Tateshale, in the first of Edward I. This came afterwards by the heiress of Ingham to the Stapletons; and in the 2d of Richard II. Sir Roger Boys, &c. trustees, aliened to the prior of the Holy Trinity of Ingham, a messuage, with 84 acres of land, 3 of meadow, one of pasture, in Worstede and Scothow, by license.

 

Thomas Moore, &c. aliened to the said convent, in the 16th of that King, 8 messuages, 221 acres of land, 22 of meadow, 4 of moor, and the rent of 11s. 11d. per ann. in this town, Ingham, Walcot, &c. held of the honour of Eye.

 

In the 3d of Henry IV. the prior's manor, late Sir Oliver de Ingham's, was held of Sir Constantine Clifton, of the barony of Tateshale.

 

The prior of Bromholm had also a lordship. In the 3d of Henry IV. the heirs of William Smalburgh held here and in Barton, &c. half a fee of the prior, with William Sywardby, and they of the Earl of Suffolk, as part of the honour of Eye, in 1428. The temporalities of this monastery were 104s. 2d. ob.

 

After the Dissolution, on May 26, in the 6th year of Edward VI. it was granted to Henry Grey Duke of Suffolk.

 

William Gillet, son and heir of William, had a messuage, a garden, 100 acres of land, 6 of meadow, 20 of pasture, and 2 of wood, called Fenn's and Skitt's, in the 23d of Elizabeth. John Kempt aliened it September 1, in the 7th of King James I. to Edmund Themilthorpe.

 

Thomas Seive of Worsted, had land here by the marriage of Margarel, one of the daughters of Sir James de Ilketeshale, Knt. of Suffolk, in the reign of Henry VI. she dying about the 30th of that King, left 3 daughters and coheirs; Cecilia, married to John Ovy, who left his lands here by will, in 1472, to Thomas his son, &c. by Emme his wife. Jane, a daughter and coheir of Seive, married William Smith; and Margaret, the 3d, Thomas Jeffrey.

 

The tenths were 14l. 10s. ob. q Deducted 1l. 19s. 1d. ob.

 

The town is seated in a flat country, and has a weekly mercate on Saturday

 

Worsted stuffs are said to have taken that name from their being first manufactured here. I find them mentioned in the 2d year of Edward III. and the weavers and workers were then by parliament enjoined to work them up to a better assise than they had done; and an enquiry was to be made after the behaviour of Robert P - - - the alnager for these stuffs.

 

Many privileges were after granted to the workers of them, Ao. 1 Richard II. &c. the merchants came into England, as appears in the 37th of Edward III. to purchase them.

 

The Church is dedicated to St. Mary, has a nave, 2 isles, and a chancel covered with lead, and a square tower with 6 bells, and was a rectory in the patronage of the family of De Worstede.

 

Sir Robert de Worsted, son of Richard de Worstede, gave by deed, (fn. 3) sans date, to the priory of Norwich, the patronage of this church, about the beginning of the reign of King Henry III. to which Sir John de Wirstede, Bartholomew de Reedham, Eustace de Berningham, &c. were witnesses; and by another deed, he gave to them the chapel of St. Andrew, in this town: witnesses, Sir G. de Bocland, John de Wirstede, Jordan de Soukeville, then an itinerant justice in Norfolk, which was confirmed by Pandulf Bishop of Norwich.

 

He also gave them lands with certain villains, the abbot of Holm also confirmed it.

 

Sir Reginald le Gross quitclaimed all his right in the aforesaid church and chapel, to Simon the prior, and the convent of Norwich.

 

Thomas de Blundevile Bishop of Norwich, also confirmed to them the said church, to take place on the decease of John de Wurchestede, and Adam de Wurchestede, who then held it in 1226; and in 1256, on the 8th of the calends of August, a vicarage was settled on the appropriation of the said church to the monks of Norwich, when a manse or house was given to the vicar, with an acre of land, by the chapel of St. Andrew with all the altarage of the church, (except the tithes of the mills) and the rents of assise belonging to the said chapel, and the oblations thereof; but if the oblations and profits of the said chapel exceeded 5 marks, the remainder was to go to the prior and convent, and the vicar was to repair the said chapel, and to find all ornaments, &c.

 

The vicar was also to have tithe of flax, hemp, and all other small tithes, it was appropriated to the prior's table, and to the cellarer of the priory; but after this, in the first of April following, it was appropriated entirely to the prior's table, and the church of Hemlington in Norfolk, appropriated to him instead of this.

 

In the reign of Edward I. there belonged to the appropriated rectory, a house, with 27 acres and a rood of land, and the church was valued at 25 marks, the vicarage at 5l. Peter-pence, 12d. and the portion of Kerbrook preceptory was 3s.—The prior had also a manor, Edward I. in his 35th year granting him free warren.

 

Vicars.

 

1256, Warin de Festorton, instituted vicar, presented by the prior and convent of Norwich.

 

John occurs vicar in 1299.

 

1304, Edmund Johnes, vicar.

 

Peter de Reynham, vicar.

 

1346, William de Aldeby.

 

1353, Oliver de Wytton.

 

1355, Roger de Felthorp.

 

1357, John de Massingham.

 

1365, John de Kynneburle; in his time, Ao. 2d of Richard II. the chancel of this church was new built; the prior granted 13 oaks out of Plumsted wood, and timber also out of St. Leonard's wood; and the expenses in money were 24l. 4l. 4d.

 

1386, Edmund Martyn, vicar.

 

On the dissolution of the priory, the manor belonging to it, with the rectory, and the patronage of the vicarage, were granted to the dean and chapter of Norwich; and the vicarage is valued at 10l. per ann.

 

Mr. Henry Aldred, vicar.

 

In 1603, William Fleming, vicar, returned 296 communicants 1730.

 

1660, Edmund Wharton, (fn. 4) occurs vicar.

 

Mr. William Berney.

 

Richard Oram, by the dean and chapter of Norwich.

 

1762, Ephr. Megoe.

 

On a gravestone in the chancel,

 

Hic lapis in pannis Spicer tenet ossa Johannis Qui Quadringentesimo pius XL et iii - - - - Anno.

 

Hic jacet D'ns. Johs. Yop. quo'da' Rector. Ecclie de Boton.

 

¶Sir Robert Camownde, priest, was buried in 1482, in the chapel of St. John, of this church, and wills that all the said chapel be paved with marbyll stone, and to the gravestone of John Ovy, with his goods. (fn. 5) —Richard Watls buried in St. John Baptist's chapel 1509, and I will have a prest to sing and pray 6 years in the church except the Fryday in ev'ry week, in the chapel of St. Andrew of Worsted. Agnes Watts, his widow, buried in the said chapel, 1529, and benefactrix to the guilds of our Lady and St. Thomas, and to the repair of St. Andrew's chapel, and gives meadow land to find two lamps in the church for ever, if the King's laws will permit, otherwise to be sold and to buy cattle for that purpose.

 

Here was also St. John Baptist's guild. In the church were these arms; Gules, on a fess, argent, three flowers, azure, between three popinjays, borne by—prior of Norwich. Argent, a cross, sable, the priory arms. Calthorp and Stapleton.

 

www.british-history.ac.uk/topographical-hist-norfolk/vol1...

 

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As a measure of how civilised East Anglia is, it is a simple and cheap matter to explore the region by train and bicycle. There is a flat rate of nine pounds a day for unlimited travel between stations in Suffolk, Norfolk and East Cambridgeshire. You can take a bike on any train for a pound, although in reality conductors rarely charge for this service. This practice dates back to pre-privatisation days, and Anglia Railways and One Trains have continued to honour it, for which I am mightily grateful. The Suffolk and Norfolk Churches sites would not be so extensive without it.

 

I left Ipswich at twenty to eight. It was a thinly bright April morning, the sun without power beyond dazzling through the haze in the eastern sky. I was glad of my jacket, but also glad I had sun glasses with me - it was going to be a perfect day for a bike ride.

 

As the train plodded through Ipswich's monotonous northern suburbs, I examined the ordnance survey map. I flicked through Pevsner and Mortlock, as industrial units gave way to green fields, copses and the winding Gipping. Restless, I gazed out the window. A swan awoke on a lake near Needham Market, stretching itself and beating its wings into life. Crows raided a skip on rubble near the Stowmarket paint factory. Then we were really in the countryside, rushing headlong through the sleepy fields beyond Haughley and Mendelsham. Near Finningham, a large female deer cowered silently in the hedge, not ten metres from the track. A few minutes later, and a wise old hare huddled in a furrow, flat-eared, patient.

 

The train pulled into the gathering surprise of Norwich. I hauled my bike a couple of platforms over to the Sheringham line. Other people out for the day got on, including a couple dressed in vintage railway costumes. I assumed they were bound for the steam line at Sheringham. Again, the monotony of another city's suburbs petered out into agricultural business, this time in bright sunshine, and so it was that just after nine o'clock we arrived at Worstead station. I was the only person to get off. "See you later" called the conductor cheerily as I rode off of the platform into the lane, and of course he was right. There is only one train that shuttles back and forth along this line all day, and he was in charge of it.

 

I cycled from the station up into the village, a distance of about two miles. I didn't pass anyone, and here in the large village there was nobody about, just a fat cat lazily rolling in the village square. The sun was cutting the haze, the sky wide and blue. It was like being in France.

 

The church is absolutely enormous, and hemmed in a tight little graveyard. My resolution to take more distant shots went right out the window. Like Salle, and Southwold in Suffolk, St Mary was all built in one go, pretty much. This happened in the late 14th century. As at Salle, it is reflective of a large number of bequests from different people over a short period rather than anyone fabulously rich doing it on their own, and the money, of course, came from wool. Worstead is still the name of a fabric today.

 

I said it was pretty much built at one go, but there was still plenty of money about in the 15th century to raise the clerestory and install a hammerbeam roof. This seems to have been such an ambitious project that flying buttresses had to be installed on top of the aisles to hold the top of the nave up, an expedient measure that has left the building both interesting and beautiful.

 

Inside, I feared another Happisburgh, but it was gorgeous. Stepping out of the sunlight into the slight chill of a vast open space, I wandered around feasting on this stunningly lovely building.

 

As regular users of the sites will know, I don't always warm to big churches, but St Mary is so pretty inside that it is hard not to love it. This is partly helped by the removal of all pews and benches from the aisle. Those that remain in the body of the church are lovely 18th century box pews, quite out of keeping with the medieval nature of the rest of the building, but quirky and oddly delightful. The great tower arch is elegant, and is thrown into relief by the towering font cover. The ringing gallery under the tower is dated 1501, and is reminiscent of the one at Cawston. The tower screen below it takes the breath away, and you find yourself looking around to see where it could have come from. In fact, it is almost certainly a work of the Victorians, but it is pretty well perfect. The paintings in the dado are apparently copies of windows by Sir Joshua Reynolds at New College, Oxford.

 

Worstead is rightly famous for its screen, but this is more because of its height, elegance and completeness than it is its authenticity. The figures on the dado have been repainted so recklessly that it is rather hard to see who some of them were ever meant to be. As at Woolpit in Suffolk, the Victorians appear to have repainted them more with an eye to enthusiasm than accuracy. I stood there, fantasising, making up stories, until, alongside familiar figures like St Peter, St James and St Matthew, I had identified St Lassitude, the patron Saint of a quiet night in, depicted reading his book. Other Saints, identified by their symbols, include St Quirinus with his hamster, and St Obligamus with his golden pineapple. Or so it seemed to me.

 

Not much less odd are the two figures on the extreme right. The Victorians do not appear to have repainted them. The first shows a man holding three nails, and is probably St William of Norwich, more familiar from the screen at Loddon. The second shows a figure crucified, arms tied to the spans. This may be the infamous Uncumber, the bearded lady of early medieval mythology - she grew a beard to fend off unwanted suitors, although you can't help thinking there'd be a niche market for that kind of thing somewhere on the internet. Later, she was crucified, probably upside down. This figure is probably a woman, so nothing seems to fit better, although she isn't bearded as far as I could see. Situated on the extreme right, she is reflected by a crucified Christ as the Man of Sorrows on the extreme left.

 

Across the top rail, a dedicatory inscription winds, mysterious and beautiful.

 

Either side of the chancel arch and screen, the two aisle chapels are both in use, which is unusual and lovely. Both have small screens, each with just four figures. That on the north side is particularly lovely, and is where the blessed sacrament is reserved. The four figures are St Peter, St Bartholomew, St John the Baptist and St John the Divine. At least three of these are also on the rood screen, suggesting that either the images there are wholly Victorian, or these aisle screens came originally from elsewhere.

 

The south aisle chapel is simpler - it is here you enter the church through the priest door. The screen features another St Bartholomew, along with St Lawrence, St Philip and a Bishop.

 

St Mary is a building to wander around in, a place to enjoy for its great beauty rather than to interrogate for its medieval authenticity. As you turn corners, vistas open up; the view from the font to the south door, for example, or that back to the west from the chancel. All perfect, all stunning. The high church nature of the modern furnishings chimes perfectly with these architectural treats. And there are other significant medieval survivals - a fine brass of a Catholic priest, scraps of wall painting beside the chancel arch, and so on.

 

As at other churches in this benefice, the war memorial is complemented by photographs of all those commemorated. What a splendid idea, and what a labour of love. Also in common with other churches around here, St Mary has a second hand bookstall. As I explored the Worstead area, I found myself buying more and more of them, until by the time I got back to Ipswich station that evening, my rucksack was laden down with a dozen or more.

 

Simon Knott, April 2005

 

www.norfolkchurches.co.uk/worstead/worstead.htm

Sign explaining Apalachee life at the mission.

278|365 As a kid, the tooth fairy would drop off cash when I lost a tooth. Now, as an adult, it costs money to have them removed, and way more than I ever earned as a kid.

His words, copied from a post on social media....

 

"This is the floor of a formerly underground sandstone cave that was exhumed and eroded away including the ceiling and walls. The sandstone has various dissolution textures (vertical pipes, polished surface, lots of eroded fracture sets) than can only happen by groundwater. It’s a very unique rock and unlike the weathering textures seen in sea or ice caves. There’s more of this a few other places. I like this spot the best."

   

In western Oregon, a good pair of rubber boots is much more useful than a pith helmet.

Never explain yourself, Your real friends don't need it, & your enemies won't believe it.. #Good_Morning 💙

Errol Korn, lower left, explains the dropsonde experiment to Janel Thomas, a University of Maryland Baltimore County (UMBC) graduate student, seated, as Bob Pasken, standing left, and Jeff Halverson, a GRIP project scientist from UMBC, look on inside NASA's DC-8 airplane, at Fort Lauderdale International Airport in Fort Lauderdale, Fla., Sunday, Aug. 15, 2010. The Genesis and Rapid Intensification Processes (GRIP) experiment is a NASA Earth science field experiment in 2010 that is being conducted to better understand how tropical storms form and develop into major hurricanes.

 

Credit: NASA/Paul E. Alers

 

To read more about the GRIP Mission go here or here for an interactive feature

 

NASA Goddard Space Flight Center is home to the nation's largest organization of combined scientists, engineers and technologists that build spacecraft, instruments and new technology to study the Earth, the sun, our solar system, and the universe.

 

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froknowsphoto.com/?p=3795

This image is part of explaining how f stops work going from 1.4 to f16. You will get a feel for how the image is effected.

I can't explain this photo in the slightest. When I was shooting this, I just sort of sat there for about 5 minutes watching and listening the grass blow in the strong wind. It was a pretty humbling. Just 10 feet from a very busy highway there is beauty. I had stopped that day to shoot the sky but found something more.

 

I'm forever learning photography by views/comments to gauge how people react to things. But for this photo, I don't give a damn! I just like it.

 

Nikon D40 - Nikkor 55mm f/3.5 Micro - 1/1000s - ISO 200 - Handheld

Vittala Temple

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As the epicenter of Hampi’s attractions, Vittala Temple is the most extravagant architectural showpiece of Hampi. No amount of words can explain this spectacle. The temple is built in the form of a sprawling campus with compound wall and gateway towers. There are many halls, pavilions and temples located inside this campus.

 

Vittala, after whom the temple is known, is a form of lord Vishnu. This aspect of Vishnu was worshiped in this part of the country as their cult deity by the cattle herds.

 

The temple was originally built in the 15th century AD. Many successive kings have enhanced the temple campus during their regimes to the present form. Yon can even see the remains of a township called Vittalapura that existed around this temple complex. The highlight of Vittala temple is its impressive pillared halls and the stone chariot. The halls are carved with an overwhelming array of sculptures on the giant granite pillars. The stone chariot located inside the campus is almost an iconic structure of Hampi.

 

One typically accesses the campus through the eastern entrance tower, next to which the ticket counter is located. On entering through this massive tower, the first thing draws your attention would be a series of compact platforms along the central axis of the campus. At the end of these platforms stands the Stone Chariot. This is in fact a shrine built in the form of a temple chariot. An image of Garuda (the eagle god) was originally enshrined within its sanctum. Garuda, according to the Hindu mythology, is the vehicle of lord Vishnu. Thus the Garuda shrine facing the temple’s sanctum is symbolic.

 

It may appear (and sometimes even referred to) as a monolithic structure. In reality this stone shrine was built with many giant granite blocks. The joints are smartly hidden in the carvings and other decorative features that adorn the Stone Chariot. The chariot is built on a rectangular platform of a feet or so high. All around this base platform is carved with mythical battle scenes. Though the chariot is not resting on it, the four giant wheels attached mimic the real life ones complete with the axis shafts & the brakes. A series of concentric floral motifs decorate the wheels. It appears from the marks on the platform, where the wheels rest, the wheels were free to move around the axis.

  

You can still see the remains of the painting on the carvings of the chariot. Probably because it was relatively protected from the natural wearing elements, the undercarriage of the chariot spots one of the best preserved specimens of this kind of paintings. It is believed the whole of the Vittala Temple’s sculptures were once beautifully painted in similar fashion using the minerals as medium.

 

In front of the chariot two elephants are positioned as if they are pulling the chariot. In fact these elephants where brought from elsewhere and positioned here at a later stage. Originally two horses were carved in that position. The tails and the rear legs of the horses can be still seen just behind these elephant sculptures. A broken stone ladder once gave access to the sanctum is kept between the elephants. You can still spot the marks on the floor and the doorsill where once the ladder stood.

 

On leaving the Stone Chariot you reach the main hall in front of the Vittala temple. This hall though partially damaged is still awe inspiring. Facing the Stone Chariot, a series of steps flanged by elephant balustrades gives access to this elevated open hall called the Maha-Mantapa (the great hall). The balustrades on the east and west porch of this hall is more dramatic with giant lion Yalis fighting the relatively dwarf elephants. The Maha-Mantapa stands on a highly ornate platform. This fluted platform is carved with a series of floral motifs. The lowermost of it is a chain of horses, its trainers and the traders.

 

The Maha-Mantapa contains four open halls within. The south, north and the east ones are still intact. The central western hall is collapsed, probably due to the arson that followed the fall of the capital.

 

The main highlight of the Maha-Mantapa is its richly carved giant monolithic pillars. The outermost of the pillars are popularly called the musical pillars. These slender and short pilasters carved out of the giant pillars emit musical tones when tapped. Probably these do not belong to any of the standard musical notes, but the musical tone of the vibes earned it’s the name. Unmindful curiosity of the visitors has damaged many of these pilasters and tapping on it is banned for the sake of preservation.

 

The eastern hall which is called the musicians hall is notable for sculptures of musicians on the pillars. Each of the pillars surrounding this hall is sculptured with musicians, drummers and dancers.

 

The southern hall is dominated with the rampant mythical creatures called Yalis. The capitals of each of the pillars branches into heavily ornate corbels with terminating with lotus buds.

 

The northern hall is surrounded with a series of pillars with the Narasimha (the man-lion incarnation of Vishnu) themes. The most notable ones are that of Narasimha slaying Hiranyakashipu on his lap. Prahlada is seen sitting at the base in a praying posture.

 

The ceilings of the halls too are of interest with the lotus like carving at the centre.

 

Further west is a closed hall with two porches on either side. Further ahead is the sanctum.

 

The inner sanctum is devoid of any idol. A narrow and unlit passageway encircles the inner sanctum. A few steps on either sides of the sanctum’s main door give access to this passage. The outer wall of the sanctum that one can only sees from this passageway is richly decorated with the Kumbha-Pankajas (the motifs where lotus flower flows out of a pot)

Mischief (?) by the architects. A image of a bull and elephant with a shared head. The left portion is complete as a bull and the right as an elephant!

 

The other attractions include the Goddess’s shrine in the northwest, the 100-pillared hall at the southwest, the Kalayna Mantapa (the ceremonial marriage hall) in the southeast and the pillared cloisters all around the enclosure wall.

  

Hampi

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The city of Hampi bears exceptional testimony to the vanished civilization of the kingdom of Vijayanagar, which reached its apogee under the reign of Krishna Deva Raya (1509-30). It offers an outstanding example of a type of structure that illustrates a significant historical situation: that of the kingdoms of South India which, menaced by the Muslims, were occasionally allied with the Portuguese of Goa.

 

The austere, grandiose site of Hampi was the last capital of the last great Hindu Kingdom of Vijayanagar. Its fabulously rich princes built Dravidian temples and palaces which won the admiration of travellers between the 14th and 16th centuries. Conquered by the Deccan Muslim confederacy in 1565, the city was pillaged over a period of six months before being abandoned.

As the final capital of the last of the great kingdom of South India, that of the Vijayanagar, Hampi, enriched by the cotton and the spice trade was one of the most beautiful cities of the medieval world. Its palaces and Dravidian temples were much admired by travellers, be they Arab (Abdul Razaak), Portuguese (Domingo Paes) or Italian (Nicolò dei Conti).

 

Conquered by the Muslims after the battle of Talikota in 1565, it was plundered over six months and then abandoned. Imposing monumental vestiges, partially disengaged and reclaimed, make of Hampi today one of the most striking ruins of the world.

The temples of Ramachandra (1513) and Hazara Rama (1520), with their sophisticated structure, where each supporting element is scanned by bundles of pilasters or colonnettes which project from the richly sculpted walls, may be counted among the most extraordinary constructions of India. In one of the interior courtyards of the temple of Vitthala, a small monument of a chariot which two elephants, sculpted in the round, struggle to drag along is one of the unusual creations, the favourite of tourists today as well as travellers of the past.

 

Besides the temples, the impressive complex of civil, princely or public buildings (elephant stables, Queen's Bath, Lotus Mahal, bazaars, markets) are enclosed in the massive fortifications which, however, were unable to repulse the assault of the five sultans of Deccan in 1565.

I absolutely adore this gorgeous Man and how he keeps his cool when he is trying to explain exactly how these contraptions work. For a dizzy blonde, I am finding it quite hard to take in but absolutely loving his passion ❤️

I'm a bit new to Minecraft and I just got the update for the PE, so i was digging around and eventually found this stuff. I tried collecting it with a diamond pickax but it wouldn't break. Can anyone tell me what it is?

Star Trek: The Motion Picture (Paramount, 1979).

putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature

 

Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.

  

In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.

 

Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.

 

On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."

 

In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.

 

Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.

 

Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.

 

Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.

 

In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.

 

In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.

 

Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.

 

Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.

 

The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.

 

Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.

 

Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.

 

The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.

 

With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.

 

The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.

 

Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.

 

Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.

 

Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.

 

An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.

 

Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.

 

Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.

 

Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.

 

In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.

 

Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."

 

"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.

 

Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.

 

Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.

 

Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.

 

Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.

 

Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.

 

Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.

 

He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.

 

Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.

 

Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"

 

Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.

 

Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.

 

McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.

 

Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."

 

Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.

 

Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.

 

The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.

 

Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.

 

The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.

 

Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.

 

"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.

 

Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.

 

"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.

 

Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.

 

Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.

 

Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.

  

youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme

 

The poultry farmer explains controls on Wayne Combustion Litter Furnace that supplies forced hot air to two broiler production houses. The entire case study can be seen at: www.extension.org/72267

from a presentation at Singularity U

 

Ok here it is. I took one image of the model using the strobes . I had the camera on Auto bracket mode , so the dark frame was taken immediately after that, before the flashes could recharge. The dark frame is for the outside detail coming in through the cracks in the door and the first shot is for the model only. LAter.. I had the model walk out and took a bunch of different exposures of the barn by itself. I used photomatix Image blending to compile them. Strobes were used in that image as well but were moved to different places for each frame to ensure an even distribution. later in photoshop I used the pen tool to vector out the model and created a mask ( Bottom Right) since the hair was really difficult, I chopped it off with the pen tool mask and duplicated the original (1) picture, placed it on top and set the blend mode to either overlay or multiply... whatever one leaves lighter (hair) detail and makes darker areas transparent. Thats how I got the hair edges so finite. A separate mask was also used to get the outside detail from the second image and place it on top of layer 3 so that it appears that My camera has that kind of dynamic range. :) YEah.. I cheated :) other than that, I used the basic retouching like skin smoothing and some toning using curves. whole thing took about an hour and a half.

 

Link to final img

www.flickr.com/photos/40889933@N07/4879681429/in/photostr...

Narumi...why do you look like such a male hooker. T^T

The words explain how the park area (roundish section) permitted some natural habitat to be created from the soil dredged out of the main shipping channel. All of this 'land' is about one mile further out in the waters of the bay than was originally the case. Over the years, the shoreline has been filled in to a great degree and although it is now being 'managed' in a much more sustainable way than it was for a long time, we cannot call it "original". The white area ringing the central section is the Middle Harbor Shoreline Park managed by the Port of Oakland together with the East Bay Regional Park District and is open for public recreation. It's actually quite nice and was the setting for several large picnic groups when I was there on a Saturday.

Cornell’s is First Organ with Multiple Historic Wind Systems

 

Cornell’s new baroque organ has become the world’s first organ with multiple historic wind systems, using a technique organ designer Munetaka Yokota perfected on a research instrument at the Göteborg Organ Art Center (GOArt) at the University of Gothenburg, Sweden.

 

With simple manual adjustments, organists can authentically re-create the wind systems of organs from the 15th to the beginning of the 19th century from north and central Germany on the instrument.

 

Professor of music Annette Richards, who led the organ project at Cornell, explains that “the wind is the basis of any organ’s sound, and to appreciate music like Bach’s as it was intended, you need to hear it played on the kind of organ for which it was written.”

 

The organ is intended to reintroduce modern audiences to this authentic, historic sound, which was gradually lost over the centuries as equal temperament in keyboard intervals and highly stable wind systems became the norm.

 

The ingenious system includes seven new valves and 80 new feet of conductors, and has attracted worldwide attention from organists and researchers. An international group of scientists gathered at Cornell in spring 2012 to share data on the organ’s key action characteristics and wind behavior.

 

Yokota and GOArt research engineer Carl Johan Bergsten will use the new system to study general wind system behavior in organs. They’ll compare the measurements they took in November 2011, before the modification, to measurements they will take after.

 

“We’re excited to hear how the collaborative research on this organ between mathematical modelers, engineers and a builder with Munetaka Yokota’s historical knowledge and incomparable musical intuition can make our instrument speak with even more clarity, power, nuance and expressivity—even while acting as a cutting-edge laboratory for the latest experimental study,” Richards says.

 

The $2 million organ is the culmination of more than seven years of research and collaboration by GOArt and the Department of Music, and more than two years of work by 21st-century craftsmen, who used authentic 17th- and early 18th-century methods to hand-build the instrument.

 

The organ re-creates the tonal design of the 1706 Arp Schnitger organ at Charlottenburg in Berlin, which was destroyed by Allied bombers during WWII. The massive wooden case has a design based on a Schnitger organ at Clausthal-Zellerfeld, Germany, and was hand-built by local cabinetmaker Christopher Lowe.

 

The original wind system on Cornell’s organ was built by Parsons Pipe Organ Builders in Canandaigua, N.Y.; the 1,827 pipes were handcrafted in Sweden by Yokota, using rediscovered historic techniques. The modifications to the wind system were made by Lowe.

 

The Cornell Baroque Organ

 

The new majestic baroque organ in Cornell’s Anabel Taylor Chapel required over seven years of research in an international, collaborative effort by Cornell’s College of Arts and Sciences and the Gothenburg Organ Art Center (GOArt) at the University of GÖTEBORG, Sweden.

 

Interdisciplinary Effort

 

The instrument re-creates the tonal design of the celebrated Charlottenburg organ in Berlin, handmade in 1706 by master organ builder Arp Schnitger and tragically destroyed during WWII. The interdisciplinary effort to understand the many aspects of this historic organ’s construction included experts in fluid dynamics, electro-acoustics, and metallurgy, as well as craftsmen and musicians. Each of the nearly 2,000 pipes was handcrafted in Sweden under the direction of project designer Munetaka Yokota.

 

Exquisite Craftsmanship

 

View from behind the keyboardThe massive, intricately designed wooden case is based on another Schnitger organ in Germany. Every detail is handmade and historically accurate, from the wooden pegs and hand-forged nails to the hand-planed wooden surface and dovetail joints.

 

Musical Versatility

 

Commissioned by the Department of Music, the organ is perfect for the music of J.S. Bach and his north German predecessors, and is versatile enough for solo and ensemble music from the 16th century onward. As a complement to the music department’s strengths in performance and research, the organ is expected to attract top organ students, professional performers, composers and scholars to Cornell.

 

The Cornell Baroque Organ Project

 

A New Organ for Anabel Taylor Chapel

 

In 2003 Cornell University began work on a new organ for Anabel Taylor Chapel—an instrument based on a German 18th century masterpiece—as part of an international research project involving three academic institutions in the field of organ studies: Cornell, the University of Gothenburg, Sweden, and the Eastman School of Music at the University of Rochester. This interdisciplinary and international effort encompasses scholars, physical scientists, musicians, craftsmen and visual artists from Sweden, Japan, The Netherlands, Germany and New York State. Joining their efforts under the artistic direction of Munetaka Yokota at the Gothenburg Organ Art Center (GOART), the members of this team created an organ that is not just a fine vehicle for teaching, performance and scholarship, but also a magnificent work of art. (See Photo Galleries section below.)

 

Historical Models

 

The Cornell Baroque Organ will reconstruct the tonal design of the celebrated instrument at the Charlottenburg-Schlosskapelle built in the first decade of the 18th century in Berlin by Arp Schnitger, one of history’s greatest organ builders. The instrument’s layout and visual design will be based on Schnitger’s breathtaking organ case at Clausthal-Zellerfeld in central Germany. See Historic Model Photo Gallery.

 

Arp Schnitger was the most important organ builder of late 17th-century North Germany; although he was active mainly in its northwestern corner, his work was well known in all of the German speaking lands. He built several organs in the eastern cities as well, with unique features not possessed by their northwestern counterparts. Many of his works in the northwestern areas survive today and are well-known, but none of his instruments in the eastern areas are extant today, with the one exception of the organ case in Clausthal-Zellerfeld.

 

Tragically destroyed in the Second World War, the Charlottenburg organ and its unique tonal qualities can be recreated today using original documentation alongside early 20th-century studies and recordings of the instrument. Unique to this Berlin instrument, and still little-understood, is the way in which Schnitger combined North- and Central-German organ aesthetics in its design, to result in an unusual, even exceptional, tonal concept. This recreation will allow us to explore this fascinating sound world once again. (See Specification section below.)

 

Research, Collaboration and Outreach

 

The project involves extensive research into the art of woodworking, metallurgy, organ construction and the crucial voicing of organ pipes in the early 18th century. It seeks to go beyond simply revivifying these skills, and attempts to place them in the cultural and aesthetic contexts so particular to Berlin and its environs. As part of this process, Cornell’s new organ is being built using sophisticated handcraft techniques, replicating the construction techniques of its storied historical models. In a landmark collaboration with local talent, Cornell is engaged not just with GOArt, but also with Ithaca-based master woodworkers Christopher Lowe and Peter De Boer, who built the organ case entirely by hand, and with the Canandaigua-based organ-building firm Parsons Pipe Organ Builders (see Case Construction Photo Gallery). This is more than an academic exercise. The historical entity that was the Berlin organ will enrich the active musical culture of Cornell, Ithaca, and Central New York and will provide valuable data and insights that can be drawn on by kindred projects globally. And with the inauguration of Cornell’s Baroque organ, the Fingerlakes region of New York will become an unprecedented destination for historic organ performance and research, with musicians and scholars able to work both at Cornell and on the nearby Eastman School of Music’s historic organs.

 

Performance and Teaching

 

The Cornell Baroque Organ will be ideal both for the glorious solo repertoire of the 17th and 18th centuries, especially the music of J. S. Bach, and for the accompaniment of ensemble music for instruments and voices; in addition, it will be versatile enough for performance of music from the 16th to the 19th centuries and beyond. This instrument will act as a magnet for top student organists, as well as being an inspiring tool for teaching, solo and group performance, and new composition. The Cornell Baroque Organ will complement the existing strengths of the Cornell music department in performance and research, especially in the music of the 17th to 19th centuries. In addition, it will contribute to the university and wider community in diverse and unforeseen ways. This project does not simply import a historic organ into Central New York, but seeks to transplant and nurture the skills required to make and maintain such an instrument, and of course to play and use it, drawing on the best of the past in pursuit of a rich future. This is not an exercise in reconstruction and museum-style curatorship but an effort to invigorate a constellation of skills and musical activities to help further energize both local culture and the University’s international standing.

 

Specification:

 

Hauptwerk (Manual I)

 

Principal 8′, Quintadena 16′, Floite dues 8′, Gedact 8′, Octav 4′, Violdegamb 4′, Nassat 3′, SuperOctav 2′, Mixtur IV, Trompete 8′, Vox humana 8′

 

Rückpositiv (Manual II)

 

Principal 8′, Gedact lieblich 8′, Octav 4′, Floite dues 4′, Octav 2′, Waltflöit 2′, Sesquialt II, Scharf III, Hoboy 8′

 

Pedal

 

Principal 16′, Octav 8′, Octav 4′, Nachthorn 2′, Rauschpfeife II, Mixtur IV, Posaunen 16′, Trommet 8′, Trommet 4′, Cornet 2′

 

Baroque Organ Fact Sheet

 

Total cost: approx. $ 2 million

 

Number of years of research, planning and construction: 7

 

Number of years organ is projected to last: several hundred

 

Pipes:

 

•Number of pipes 1,847

•Largest pipe; c. 16 feet long, 8 inches diameter

•Smallest pipe—c. 1 inch long, ¼ inch diameter

•Materials for pipes: lead, tin, pine

•Sheets of metal for pipes cast on beds of sand

•Seven and a half months required to “voice” pipes (ensure each has perfect sound in the chapel, and responds correctly to pressure and speed of the touch of the performer)

•42 ranks (individual rows of pipes)

•30 stops

 

Keyboards:

 

•2 manuals, each with 50 notes (C, D to d3)

•1 pedal, with 26 notes (C, D to d1)

•over 740 feet of wooden trackers traveling from key to pallet

 

Bellows:

 

•4 wedge bellows (each weighing approximately 430 pounds)

•two pumpers required to manually run the bellows

•fastened together with cow hide and cow hide organic glue

 

Scale:

 

•lowest pitch: c. 30 Hz

•highest pitch c. 8, 000 Hz

 

Case:

 

•quarter-sawn fumed white oak

•many tons of lumber in the case (estimated around 7)

•handcrafted; every surface hand-planed rather than sanded

•longest boards, 18 ft, imported from 300-year old sustainable forest in Germany

•case dimensions: 25ft wide; 4 and ½ feet deep; 23ft high in the center

•number of structural nails in case: zero—case held together by wooden pegs, dovetail joints, wedges, drawboard mortise and tenon

 

All nails, hinges, etc. hand-forged of solid iron in Sweden

 

Contacts

 

•Cornell University

oContact: Annette Richards, University Organist

oProfessor of Musicology and Performance (17th-18th-century music, organ)

oPh.D., Stanford University

o607-255-7102, ar34@cornell.edu

Annette Richards provided the passion and organization behind the Cornell Baroque Organ project. She managed every aspect, from coordinating the international team of builders to shoveling snow for the delivery trucks, and is now delighted to be one of the primary organists to play the unique instrument. More details at: music.cornell.edu/people/faculty/?page=cudm/facultyCtrl&a... and vivo.cornell.edu/humanities/individual/vivo/individual23295

•David Yearsley

oProfessor of Musicology and Performance (17th-18th-century music, early keyboards)

oPh.D., Stanford University

o607-255-9024, dgy2@cornell.edu

David Yearsley provided key support for the Cornell Baroque Organ project through his expertise with organs and his skill as a performer. He is also one of the primary organist to play this magnificent instrument. More details at: music.cornell.edu/people/faculty/?page=cudm/facultyCtrl&a...

•CCSN Woodworking

oContact: Christopher Lowe

oCabinet Maker

oFreeville, NY(607) 347-6633 scmarlowe@frontiernet.net

Christopher Lowe is a local craftsman who has been a cabinet maker for 28 years, specializing in everything from barn restoration to furniture making. This was his first organ commission.

•Göteborg Organ Art Center

oUniversity of Gothenburg, Sweden

oGOArt was responsible for the overall design and project coordination, the production of the pipework, and the voicing of the pipes. More details at www.goart.gu.se/Research/

oContact: Munetaka Yokota

oEmail: munetaka.yokota@goart.gu.se

Munetaka Yokota supervised the assembly of the organ at Cornell. He is the main researcher and designer of the instrument and the primary craftsman for the organ pipes. He brought his family to Ithaca to live for almost a year, while he installed and voiced the pipes at Cornell.

•Parsons Pipe Organ Builders

oCanandaigua, New York

oParsons Pipe Organ Builders was responsible for constructing the wind system inside the organ, including all the mechanicals and the bellows. More details at: www.parsonsorgans.com/home.htm

oContact: Richard Parsons

oPresident and owner (585) 229-5888 or (888) 229-4820 or info@parsonsorgans.com

 

Timeline

 

•2/2/10 Delivery of wind chest, organ case, to Anabel Taylor Chapel

•Assembly of organ begins

•2/8/10-2/19/10 Pipe racking (involves burning wood and making a great deal of smoke, and will happen in a little shed right outside the chapel)

•2/17/1 Voicing of pipes begins

•3/1/10 Basic organ assembly complete, though all pipes might not be in

•03/4-6/10 Inspection by the great Dutch organist and organ expert Jacques van Oortmerssen

•03/10-11/10 Final tuning of organ

•04/10 Open house to display assembled organ

•11/10 Late November concert to inaugurate organ for local audience

•3/11 Official inauguration of organ

 

Annette Richards

 

University Organist

Professor

Musicology, Performance

17th-18th-century music, organ

Ph.D., Stanford University

Tel#: 607-255-3712

ar34@cornell.edu

340 Lincoln Hall

 

In her work as a music historian and keyboard player, Annette Richards draws on her training in English literature, art history, musicology, and musical performance. Musical and visual aesthetics and criticism are of particular interest to her, as is music in literature, and changing attitudes and approaches to performance in the late eighteenth and early nineteenth centuries. Her book The Free Fantasia and the Musical Picturesque (Cambridge, 2001) explores the intersections between musical fantasy and the landscape garden in late eighteenth- and early nineteenth-century music culture, ranging across German-speaking Europe to England. Other topics on which she has written include Mozart and musical automata, the German keyboard song and solitude, and Haydn and the grotesque. She is the editor of CPE Bach Studies (Cambridge, 2006), and, with David Yearsley, of the Organ Works of C. P. E. Bach for the new complete edition (Packard Humanities Institute, 2008). She is also the founding editor of Keyboard Perspectives. Prof. Richards is currently working on two projects: a reconstruction of the extraordinary collection of musical portraits belonging to C. P. E. Bach, and a book that expands on her work on death, fantasy, and the grotesque to explore the dark hermeneutics of musical life in the age of European enlightenment and revolution—Music and the Gothic on the Dark Side of 1800.

 

As a performer Annette Richards specializes in music of the Italian and North German Baroque, and has played concerts on numerous historic and modern instruments in Europe and the United States. She also regularly performs music from the nineteenth and twentieth centuries, and has won prizes in international competitions including the 1992 Dublin International Organ Competition and first prize for organ duo with David Yearsley at the Bruges Early Music Festival in 1994. Her CD Melchior Schildt and the North German Organ Art ( on the Loft label) was recorded on the historic organ at Roskilde Cathedral, Denmark.

 

Prof. Richards has won numerous honors, including fellowships at the Stanford Humanities Center, the Getty Center in Santa Monica and at the Society for the Humanities at Cornell. She has also held a New Directions Fellowship from the Mellon Foundation and a fellowship from the Alexander von Humboldt Foundation.

 

At Cornell Prof. Richards teaches courses on eighteenth- and early nineteenth-century music aesthetics and criticism; intersections between music and visual culture; music and the uncanny; the undergraduate history survey; music of the Baroque; and the organ and its musical culture, as well as organ performance. She has organized several conferences and concert festivals at the university, including “German Orpheus: C. P. E. Bach and North German Music Culture” (1998) and “British Modernism” (2003).

 

Prof. Richards is also the Executive Director of the Westfield Center for Historical Keyboard Studies.

 

David Yearsley

 

Professor

Musicology, Performance

History, literature, and performance of 17th-18th-century music

Ph.D., Stanford University

Tel#: 607-255-9024

dgy2@cornell.edu

341 Lincoln Hall

 

David Yearsley was educated at Harvard College and Stanford University, where he received his Ph.D. in Musicology in 1994. At Cornell he continues to pursue his interests in the performance, literature and history of northern European music among other activities. His musicological work investigates literary, social, and theological contexts for music and music making, and he has written on topics ranging from music and death, to alchemy and counterpoint, musical invention and imagination, and musical representations of public spaces in film. His first book, Bach and the Meanings of Counterpoint (Cambridge, 2002) explodes long-held notions about the status of counterpoint in the mid-eighteenth century, and illuminates unexpected areas of the musical culture into which Bach’s most obsessive and complicated musical creations were released. More recently, his Bach’s Feet: the Organ Pedals in European Culture (Cambridge, 2012) presents a new interpretation of the significance of the oldest and richest of European instruments—the organ—by investigating the German origins of the uniquely independent use of the feet in music-making. Delving into a range of musical, literary, and visual sources, Bach’s Feet pursues the wide-ranging cultural importance of this physically demanding art, from the blind German organists of the 15th century, through the central contribution of Bach’s music and legacy, to the newly-pedaling organists of the British Empire, and the sinister visions of Nazi propagandists.

 

He is currently working on a monograph entitled The Musical Lives of Anna Magdalena Bach, a study of the changing musical contributions and restrictions, performing possibilities and perils that characterized the musical world of the women of the Bach household in the first half 18th century.

 

David’s musical and musicological interests extend to the Elizabethans, the Italian keyboard traditions of the seventeenth century, Handel’s operas, film music, musical travels, and the intersections between music and politics.

 

The only musician ever to win all major prizes at the Bruges Early Music Festival competition, David’s recordings of seventeenth- and eighteenth-century organ music are available from Loft Recordings and Musica Omnia.

 

While his primary interests are in European music culture of the seventeenth and eighteenth centuries, he has taught courses in music theory, film music, music and travel, and music historiography.

 

Works by David Yearsley

 

Articles

 

•An essay on the political implications of Bach’s vocal works: konturen.uoregon.edu/vol1_Yearsley.html

 

Performances

 

•Concert performance of C. P. E. Bach’s Abschied von meinem Silbermannischen Claviere for the Cambridge Society for Early Music played on Ferruccio Busoni’s 1906 Dolmetsch clavichord

•Concert performance of C. P. E. Bach’s Fantasia in C Major from Kenner und Liebhaber VI for the Cambridge Society of Early Music played on Ferruccio Busoni’s 1906 Dolmetsch clavichord

 

Why Cornell?

 

“A great university deserves to have a really great organ,” says Annette Richards, university organist and project manager. Although Cornell had a number of organs already, it lacked an instrument of the style and scope appropriate to the music of the noted German organist composers of the 17th and 18th centuries. “There was no great vehicle for playing the music especially of Johann Sebastian Bach and his North German predecessors. So I felt it was important for us to get a new really first class—world class—instrument at Cornell,” says Richards.

 

Cornell’s New Baroque Organ

 

“Cornell is an institution that fosters many kinds of scholarship, and it also has a long and very storied musical tradition,” continues Richards. “Andrew Dickson White was a big organ supporter and fan. He initiated getting an important organ for Bailey Hall when that building was built. And Cornell’s College of Arts and Sciences has a music department where the 18th century is a real strength. It also has a fine collection of keyboard instruments already, and it made sense to build on all those strengths and that history to bring something like this here.”

My name is Bob Griffin, and I am a full-time faculty member who teaches Information Architecture for the Web Design & Interactive Media Department at The New England Institute of Art. I joined forces with Dorothee Shamonsky and Kay Aubrey (who were the Interface Design and Usability adjunct faculty, respectively) to define the interaction design curricula at the college. The reason that we felt it necessary to get together and define the interaction design curricula was due to our student population complaining about too much overlap in the three separate areas of study.

 

It’s my feeling that Information Architecture, Interface Design and Usability are separate areas of study, and yet they are also three peas in a pod. You have to have one to help define the other. Trying to talk about one without some semblance of understanding of the other two, is like trying to describe the Three Stooges by only talking about Larry.

 

Please take a look at what we came up with below. There will always be agreement to disagree — but in the long run — after we did this analysis, our students stopped complaining.

how i woke up with a numb arm.

(popular romances of the west of england in the background, which i realized wasn't the book i was reading in bed that afternoon+ my hand)

 

sepa entender ud. que si algo aparece en inglés aquí, no es por snobismo, sólo porque no me queda otra para hacerme entender con determinada/s persona/s con la/s que trato a dia/r/i/o. en particular con la que era destinataria del dibujo, claro.

 

I happened upon a swans nest. This is the new expectant Father showing off for his lady in waiting ;) This young male let me get quite close to the nest as I was silent and respectful...That was until some nut case came by with his young boy who began throwing big stones at the nest..I freaked out that the father allowed his son do this. I couldn't hold my tongue and politely explained to the Father of the boy that the female swan was pregnant and on her nest..They quickly left thank goodness..How does a Father let his son do something like that is beyond me. Fortunately for me I watched the two swans for ages..afterward ;)

  

"The black knob at the base of the male Mute Swan's bill swells during the breeding season and becomes noticeably larger than the female's. The rest of the year the difference between the sexes is not obvious."

 

Have a great day everyone! I will catch up with everyone later on today! :)

Social Bookmarking is a really simple tool that can offer your Extension audience a great deal of value. It's also a great place to get started with eExtension.

The legend for this exhibit explained that the ancient Greeks sometimes ritually "killed" a helmet by bending its cheek flanges outward.

 

"It was the custom for victorious Greek cities to dedicate tropaia, ‘trophies’ of armour from the defeated, in the sanctuary of one of the gods. When the trophy collapsed from age or when the sanctuary became too full the armour was buried, but first it was ‘killed’ as part of the process of offering it to the gods: the cheekpieces were bent

back and the noseguard turned up to render the helmet useless in this world." - Walters Art Museum

 

Photographed at the Walters Art Museum, Baltimore, Maryland.

froknowsphoto.com/?p=3795

This image is part of explaining how f stops work going from 1.4 to f16. You will get a feel for how the image is effected.

Raymah is Yemen’s newest governorate, carved off Sana’a in 2004. An egg carton of mountains each with a house on top. Providing health an education is a challenge with a population dispersed over so many difficult to get to places.

I was there to see how are nutrition and education programmes were progressing. The government health staff and local government I met were well trained and keen to make a difference.

A Fruitland farmer explains a watering method he is using for the first time on a crop of onion seed that he is soon to plant. Because the soil in which onion seed is planted must never dry out, he has has burried a drip line just underneath the soil. This method will keep the soil constantly wet w ith a minimal amount of water. Fruitland, Idaho

 

7/20/2012 Photo by Kirsten Strough

Unedited

why these were for sale at a hardware store?

Explained nicely about every shot with examples

 

   

wp.me/p5qk6T-3T8

FENCE EDUCATION CONSULTANCY INC MD MBBS Philippines

 

In this video Dr.Charlene Robelle Locaylocay and Dr.Karla Motol – Mallari explains UPHSD regulations and course details.

 

DOCTORS:

 

Dr.Charlene Robelle Locaylocay

Executive assistant Dean

University of Perpetual Help System DALTA

 

Dr.Karla Motol – Mallari

Vice Chairman – Obstetrics

University of Perpetual Help System DALTA

  

The Philippines is a tropical country located in South East Asia region, the medium of communication is english the cos of living almost like india.

 

The Philippines medical education follows American standard of health education, so the University of Perpetual Help System Dalta in manila, philippines follows a same standard of education which is accredited by

commission of Higher Education in Philippines, which is also ISO certified, and that has been existed past 45 years.

 

The university has Autonomous status, it is only given to the long, tradition of integrity, reputation, commitment of excellence and sustainability of operations. The University of Perpetual Help System Dalta School of Medicine is the center of excellence in medical education, training research and community service. Our goal is to produce competent and quality facilities.

Once you entered our medical program you have to first clear the Pre-Medicine program, which is a Bachelor Degree. After that you enter MD medicine, which is a 4 year curriculum base. Our curriculum is out come based education standard which is an American education standard.

 

In first year, you need to pass basic sciences, which is composed of Gross anatomy, Histology, Neuroanatomy, Physiology, Bio-Chemistry and Preventive medicine Communal health services. Those subjects were first introduced to you as first year medical student.

 

As a fresh student we offer an unique course called Pedagoji, which is offered free to fresh men, just to give them an idea about how to learn medicine. Which gives an idea about teaching and learning strategy.

 

Once you comes to second year, The second year subjects are Basic Science and as well as Clinical Sciences. In second year students will be given subjects like case studies they will be introduced to how to diagnose

deceases, physical examination as well as management. During this time we assist a student by objective structural clinical examination, multiple choice questions also be given as well as laboratory works.

 

After cleared all your second year subjects, You have a comprehension exam. The comprehensive exam will test how you learned for the past two years in medical school. You need to appear in NMAT exam, which only contain 200 MCQs. After clearing this exam you will then enter into your MD program.

 

In third year all subjects are purely clinical sciences, which will focus in different branches of medicine, after completing third year you have another comprehensive exam just to reflect on mat how you ensure your course, after you moved on to fourth year automatic clinical clerkship program.

 

It is a 52 week clinical rotations on a different departments, which will then given to you for medical and clinical exposure on different patients.

 

Our medical school has a base hospital a LEVEL 3 treasury hospital, we provide credited residency training program in different special case like internal medicine, pediatrics, surgery, obstetrics and gynaecology so this departments will helps you to test your theoretical knowledge and improve your practical skills.

 

Once you go to the hospital you will routine in different specialty departments, so you will be enhanced, developed in your theoretical knowledge and clinical skills. We have four major departments such as internal medicine, Pediatrics, Surgery, Obstetrics and Gynaecology. You have rotated in those major departments for 8 weeks or 2 months and 2 weeks in minor departments like Otolaryngology, ophthalmology, psychology, radiology and anesthesia. In preventive medicine and community health you will be rotated for 4 weeks.

 

During your clerkship rotation you will be part of the health care team and also supervised by intern and attending physician. During that period you have the opportunity of doing minor procedures such as intravenous injection etc. You can also assist in major procedures like Dora synthesis

and Para synthesis. So during this rotations you have to go on duty for 24 hours and in some days it will be assigned in the out-patient department, Emergency room, Intensive care unit and also during this rotations you will be a part of case conferences case discussions with all attending physicians. These all discussions could helps to improve and enhance your theoretical and practical knowledge.

 

The one other major department is obstetrics and gynaecology which is an project of residency medical training of UPHSD. When you rotate for that department we teach you how to handle normal spontaneous delivery and ask you to assist in major operations like cesarean section.

 

This Video:

youtu.be/KpUui6ATvEc

 

For any quires : 88077 44400

 

how long "Little Guy" was when he was rescued in 1997 and really was a "little guy" only about 10 inches long. "Little Guy" is a Great Basin rattlesnake (Crotalus oreganus lutosus). Photo of Frank and "Little Guy" at Boise State University Reptile and Amphibian Workshop September 17 - 18, 2016 by Scott..

 

Winter 2012