Finally - a production MG3. After initially seeing a factory disguised 3 around launch time late last year I hadn't seen any. Finally I saw a couple last week, this one being the first photo opportunity. I think they look quite good from the front. The rear reminds me of a late 90's three door Fiat Palio.

Date of Liability 01 03 2015

Date of First Registration 08 03 2014

Year of Manufacture 2014

Cylinder Capacity (cc) 1498cc

A rainbow is an optical and meteorological phenomenon that causes a spectrum of light to appear in the sky when the Sun shines on to droplets of moisture in the Earth's atmosphere. It takes the form of a multicoloured arc. Rainbows caused by sunlight always appear in the section of sky directly opposite the sun.

In a "primary rainbow", the arc shows red on the outer part, and violet on the inner side. This rainbow is caused by light being refracted while entering a droplet of water, then reflected inside on the back of the droplet and refracted again when leaving it.

In a double rainbow, a second arc is seen outside the primary arc, and has the order of its colours reversed, red facing toward the other one, in both rainbows. This second rainbow is caused by light reflecting twice inside water droplets. The region between a double rainbow is dark, and is known as "Alexander's band" or "Alexander's dark band".

The rainbow is not located at a specific distance, but comes from any water droplets viewed from a certain angle relative to the Sun's rays. Thus, a rainbow is not a physical object, and cannot be physically approached. Indeed, it is impossible for an observer to manoeuvre to see any rainbow from water droplets at any angle other than the customary one of 42 degrees from the direction opposite the Sun. Even if an observer sees another observer who seems "under" or "at the end" of a rainbow, the second observer will see a different rainbow further off-yet, at the same angle as seen by the first observer.

A rainbow spans a continuous spectrum of colours. Any distinct bands perceived are an artefact of human colour vision, and no banding of any type is seen in a black-and-white photo of a rainbow, only a smooth gradation of intensity to a maximum, then fading towards the other side. For colours seen by a normal human eye, the most commonly cited and remembered sequence, in English, is Newton's sevenfold red, orange, yellow, green, blue, indigo and violet.

Rainbows can be caused by many forms of airborne water. These include not only rain, but also mist, spray, and airborne dew.

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Um arco-íris (também chamado arco-celeste, arco-da-aliança, arco-da-chuva, arco-da-velha) é um fenômeno óptico e meteorológico que separa a luz do sol em seu espectro (aproximadamente) contínuo quando o sol brilha sobre gotas de chuva. É um arco multicolorido com o vermelho no seu exterior e o violeta em seu interior; a ordem completa é vermelho, laranja, amarelo, verde, azul, anil (ou índigo) e violeta. No entanto, a grande maioria das pessoas consegue discernir apenas seis cores, e o próprio Newton viu apenas cinco cores, e adicionou mais duas apenas para fazer analogia com as sete notas musicais.[1][2][3][4] Ver também o artigo sobre as cores para informações sobre o espectro de cores do arco-íris.

Para ajudar a lembrar a sequência de cores do arco-íris, usa-se a mnemónica: «Vermelho lá vai violeta», em que l, a,v, a,i representam a sequência laranja, amarelo, verde, azul, índigo. Na língua inglesa é usada a mnemónica roygbiv.

O efeito do arco-íris pode ser observado sempre que existir gotas de água no ar e a luz do sol estiver brilhando acima do observador em uma baixa altitude ou ângulo. O mais espetacular arco-íris aparece quando metade do céu ainda está escuro com nuvens de chuva e o observador está em um local com céu claro. Outro local propício à apreciação do arco-íris é perto de cachoeiras.

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虹（にじ）とは、赤から紫までの光のスペクトルが並んだ円弧状の光である。気象現象の中でも大気光学現象に含まれる。

太陽の光が空気中の水滴によって屈折、反射されるときに、水滴がプリズムの役割をするため、光が分解されて複数色（日本では七色とされる）の帯に見える。雨上がり、水しぶきをあげる滝、太陽を背にしてホースで水まきをした時などに良く見ることができる。

Dress Form For Tiny Bjd

(Lati White, Puki Puki)

If you want see more photo Please visit my homepage

Candy smoothie

Angkor Wat or "Capital Temple" is a temple complex in Cambodia and the largest religious monument in the world. It was first a Hindu and later a Buddhist temple. It was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura, present-day Angkor, the capital of the Khmer Empire, as his state temple and eventual mausoleum.

Breaking from the Shiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. As the best-preserved temple at the site, it is the only one to have remained a significant religious center since its foundation. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple, based on early Dravidian architecture, with key features such as the Jagati. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 kilometres long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls.

The modern name, Angkor Wat, means "Temple City" or "City of Temples" in Khmer; Angkor, meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ), which comes from the Sanskrit word nagara (नगर). Wat is the Khmer word for "temple grounds" (Sanskrit: वाट vāṭa ""enclosure").

HISTORY

Angkor Wat lies 5.5 kilometres north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. It is in an area of Cambodia where there is an important group of ancient structures. It is the southernmost of Angkor's main sites.

According to one legend, the construction of Angkor Wat was ordered by Indra to act as a palace for his son Precha Ket Mealea.

According to the 13th century Chinese traveler Daguan Zhou, it was believed by some that the temple was constructed in a single night by a divine architect. The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113-C. 1150). Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as "Varah Vishnu-lok" after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished.

In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kilometers to the north.

In the late 13th century, Angkor Wat gradually moved from Hindu to Theravada Buddhist use, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned, its preservation being due in part to the fact that its moat also provided some protection from encroachment by the jungle.

One of the first Western visitors to the temple was António da Madalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."

In the mid-19th century, the temple was visited by the French naturalist and explorer, Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:

"One of these temples - a rival to that of Solomon, and erected by some ancient Michelangelo - might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged."

Mouhot, like other early Western visitors, found it difficult to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site. There were no ordinary dwellings or houses or other signs of settlement including cooking utensils, weapons, or items of clothing usually found at ancient sites. Instead there is the evidence of the monuments themselves.

Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation. Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.The temple is a powerful symbol of Cambodia, and is a source of great national pride that has factored into Cambodia's diplomatic relations with France, the United States and its neighbor Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and even transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937. Angkor Wat's aesthetics were also on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from C. 1880 to the mid-1920s. The splendid artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country that had been under Siamese (Thai) control since 1351 AD (Manich Jumsai 2001), or by some accounts, 1431 AD. Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since that time.

ARCHITECTURE

SITE AND PLAN

Angkor Wat, located at 13°24′45″N 103°52′0″E, is a unique combination of the temple mountain, the standard design for the empire's state temples and the later plan of concentric galleries. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple.Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction - prasavya in Hindu terminology - as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services. The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.

A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.

STYLE

Angkor Wat is the prime example of the classical style of Khmer architecture - the Angkor Wat style - to which it has given its name. By the 12th century Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested. The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style." Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.

FEATURES

OUTER ENCLOSURE

The outer wall, 1024 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper. Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine.Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth. The outer wall encloses a space of 820,000 square metres, which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.

CENTRAL STRUCTURE

The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma, the moon, and Vishnu.

Each gallery has a gopura at each of the points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because the temple faces west, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.

The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (the "Hall of a Thousand Gods"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.

North and south of the cloister are libraries.

Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru.

Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.

DECORATION

Integrated with the architecture of the building, and one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving".

From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology.

On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst"). and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna. Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.

CONSTRUCTION TECHNIQUES

The stones, as smooth as polished marble, were laid without mortar with very tight joints that are sometimes hard to find. The blocks were held together by mortise and tenon joints in some cases, while in others they used dovetails and gravity. The blocks were presumably put in place by a combination of elephants, coir ropes, pulleys and bamboo scaffolding. Henri Mouhot noted that most of the blocks had holes 2.5 cm in diameter and 3 cm deep, with more holes on the larger blocks. Some scholars have suggested that these were used to join them together with iron rods, but others claim they were used to hold temporary pegs to help manoeuvre them into place. The monument was made out of millions of tonnes of sandstone and it has a greater volume as well as mass than the Great Pyramid of Giza in Egypt. The Angkor Wat Temple consumes about 6 million to 10 million blocks of sandstone with an average weight of 1.5 tons each. In fact, the entire city of Angkor used up far greater amounts of stone than all the Egyptian pyramids combined, and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids which use limestone quarried barely half a km away all the time, the entire city of Angkor was built with sandstone quarried 40 km (or more) away. This sandstone had to be transported from Mount Kulen, a quarry approximately 40 km to the northeast. The route has been suggested to span 35 kilometres along a canal towards Tonlé Sap lake, another 35 kilometres crossing the lake, and finally 15 kilometres upstream and against the current along Siem Reap River, making a total journey of 90 kilometres. However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2012 a shorter 35-kilometre canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.

Virtually all of its surfaces, columns, lintels even roofs are carved. There are miles of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots as well as warriors following an elephant-mounted leader and celestial dancing girls with elaborate hair styles. The gallery wall alone is decorated with almost 1000 square metres of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were a prime target for robbers. While excavating Khajuraho, Alex Evans, a stonemason and sculptor, recreated a stone sculpture under 1.2 m, this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labor force to quarry, transport, carve and install so much sandstone must have run into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artifacts that have been dated to the seventh century, before the Khmer came to power.

ANGKOR WAT TODAY

The Archaeological Survey of India carried out restoration work on the temple between 1986 and 1992. Since the 1990s, Angkor Wat has seen continued conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site. The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed restoration of the north library of the outer enclosure in 2005. World Monuments Fund began conservation work on the Churning of the Sea of Milk Gallery in 2008 after several years of conditions studies. The project restored the traditional Khmer roofing system and removed cement used in earlier restoration attempts that had resulted in salts entering the structure behind the bas-relief, discoloring and damaging the sculpted surfaces. The main phase of work ended in 2012, and the final component will be the installation of finials on the roof of the gallery in 2013. Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Angkor Wat has become a major tourist destination. In 2004 and 2005, government figures suggest that, respectively, 561.000 and 677.000 foreign visitors arrived in Siem Reap province, approximately 50% of all foreign tourists in Cambodia for both years. The site has been managed by the private SOKIMEX group since 1990, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti; ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance - as of 2000 approximately 28% of ticket revenues across the whole Angkor site was spent on the temples - although most work is carried out by foreign government-sponsored teams rather than by the Cambodian authorities. Since Angkor Wat has seen significant growth in tourism throughout the years UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organized seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasized the importance of providing high quality accommodation and services in order for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed with regard to traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large amounts of tourists. The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat. Locals of Siem Reap have also voiced concern over the charming nature and atmosphere of their town being compromised in order to entertain tourism. Since this charming local atmosphere is the key component to projects like Angkor Tourist City, local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture. At the ASEAN Tourism Forum 2012, both parties have agreed Borobudur and Angkor Wat to become sister sites and the provinces will become sister provinces. Two Indonesian airlines are considering the opportunity to open a direct flight from Yogyakarta, Indonesia to Siem Reap.

WIKIPEDIA

Promo shoot with rock band Form in my home studio.

Strobist: SB-600 silver brolly right and SB-80x shoot through brolly left. Cactus V4 Triggers.

Wikipedia:

El Palacio de San Telmo, actual sede de la presidencia de la Junta de Andalucía, comenzó a construirse en el año 1682, en terrenos extramuros propiedad del Tribunal de la Inquisición para sede del Colegio Seminario de la Universidad de Mareantes en la que se acogía y formaba a los huérfanos de los marineros.

Es uno de los edificios emblemáticos de la arquitectura barroca sevillana, dispone de planta rectangular con varios patios interiores, uno de ellos central, torres en las cuatro esquinas, capilla y jardines. La capilla, a la que se accede desde uno de los patios es obra del arquitecto Leonardo de Figueroa y en su decoración interior participaron: Pedro Duque y Cornejo –escultor-, Miguel de Quintana –cantero-, Domingo Martínez –pintor- y Juan Tomás Díaz –carpintero-, es de un exuberante barroquismo. Está presidida por la imagen de Nuestra Señora del Buen Aire, de principios del siglo XVII.

En su fachada principal destaca la magnífica portada de estilo churrigueresco terminada en 1754, obra de otros miembros de la familia Figueroa, en concreto de Matías y Antonio Matías, hijo y nieto de Leonardo de Figueroa, su coste fue de 50.000 pesos. La portada presenta tres cuerpos. El primero está compuesta por la puerta flanqueada por tres columnas a cada lado, el segundo se encuentra constituido por un balcón sostenido por atlantes con aspectos de indios, rodean el balcón doce figuras de mujer, alegóricas de las ciencias y las artes relacionadas con los estudios de náutica. Remata la fachada un conjunto en el que, enmarcada por columnas, se encuentra la figura de San Telmo, patrón de los navegantes, flanqueado por los patronos de la ciudad: San Fernando y San Hermenegildo.

Galería de sevillanos ilustres, en la fachada lateral del palacioCoronando la fachada situada en la calle Palos de la Frontera, en dirección al Hotel Alfonso XIII, se encuentran las esculturas de los Doce Sevillanos Ilustres, ejecutada en 1895, obra de Antonio Susillo, y formada por:

Juan Martínez Montañés, escultor.

Rodrigo Ponce de León, marqués de Cádiz y capitán general de la Reconquista de Granada.

Diego Rodríguez de Silva y Velázquez, pintor.

Miguel Mañara. Caballero y filántropo fundador del Hospital de la Santa Caridad.

Lope de Rueda, escritor.

Diego Ortiz de Zúñiga, historiador y escritor

Fernando de Herrera, poeta.

Luis Daoíz, militar héroe de la Guerra de la Independencia.

Benito Arias Montano, humanista.

Bartolomé Esteban Murillo, pintor.

Fernando Afán de Ribera y Enríquez, duque de Alcalá, humanista.

Fray Bartolomé de las Casas, religioso, obispo de Chiapas, (México) y protector de los indios.

Entre ellos hay tres que son sevillanos de adopción, pues no nacieron en Sevilla, aunque vivieron y murieron en ella, son: Benito Arias Montano -de Fregenal de la Sierra, Badajoz-, Rodrigo Ponce de León -de Cádiz- y Juan Martínez Montañés -de Alcalá la Real, Jaén

Curso de “Corte e Costura” ABECAO

As beneficiárias da Oficina de Corte e Costura da ABECAO estão colocando em prática as técnicas adquiridas nas aulas, confeccionando vários modelos de vestuários. O objetivo do curso visa resgatar este projeto de qualificação tradicional, ensinando as técnicas para confecção de vestuários de maneira clara, objetiva e completa de como cortar e costurar, promovendo a profissionalização da mão de obra prioritariamente às pessoas em risco social, formando profissionais atendendo a necessidade do mercado de trabalho, estimulando o desenvolvimento da criatividade com qualidade as alunas, Natalia Aparecida Silva Santos, Alessandra Carla da Silva, Aparecida Castanha Vieira, Elaine Pereira Gomes, Graziela Pereira Celestino, Lindalva Leite Melo Barboza, Maria Aparecida Olmedo, Rose Mara Domelas de Castro,Tassiana de Menezes da Silva, demonstra grande aptidão profissional como mostra as fotos, parabéns as alunas e a monitora Marlene Canhada.

Form 5 Confirmation Mass 2021

English session 1

16 Confirmants

Celebrated by Father Andrew Wong

F5Confirmation: Anointing with Chrism Oil

Henry Low wen Yue

Sarracenia minor (anthocyanin free form) - Phil Faulisi

1.- Nací un nublado y lluvioso Viernes 13, donde usaron forcept causándole la muerte a mi mama, quien milagrosamente revivió “al momento de Examinar por que fallecio” gracias a que nací enmantillada el accidente solo me dejo una cicatriz bastante grande en el cuero cabelludo.

2.- Amo el fútbol increíblemente, forma parte de mi vida desde que era una niña.

3.- Nunca he hecho dietas ni he practicado deportes, no tengo resistencia física ni para aguantar media clase de aeróbics.

4.- No tengo religión, creo en un ser Superior le quiero llamar Dios, pero soy Jesuista porque lo he visto y respeto la religion de los demas.

5.- Manejo desde hace más de 8 años y no tengo licencia de conducir. soy carro-dependiente. se mas de como andar en transporte publico en Merida, pero en Maracaibo no tengo NPI!

6.- Uso más de 10 productos diariamente cada vez que me baño, entre cremas y jabones, cada parte del cuerpo tiene un requerimiento diferente, admito lo maniática.

7.- Sin agenda no soy nadie! Tengo muy mala memoria a corto plazo, lo confunden con despiste pero soy mas pilas de lo que parezco, por lo que muchos dicen que soy una cajita de sorpresas.

8.- Hablo muy rapido y hasta por los codos, de casi cualquier cosa; a veces ni yo misma me soporto.

9.- Deje un contrato con una agencia de modelos internacional por seguir mi carrera universitaria, y darle gusto a mi familia.

10.- Son mías porque mi papa pago por ellas.

11.- Soy intuitiva, si tengo una relación muy estrecha con alguien puedo saber donde se encuentra y quizás el pensamiento. Cosa que me asusta pero varias personas con “facultades” me han dicho que es un Don y no es nada malo.

12.- Sueño con ser Comentarista de juegos de fútbol, conducir programas de TV y ser cantante, soy Odontóloga y amo mi carrera.

13.- Tengo los dedos muuuuy largos y delgados. Mi anillo de graduación es # 3

(E.T phome home)

14.- Sigo en contacto con mi mejor amiga de 1º grado, mis verdaderos amigos son mi familia no biológica que yo escogí para siempre.

15.- Me quita el sueño llegar a tener alguna enfermedad incurable o síndrome sin cura.

16.- Nunca he podido terminar de leer un libro, "mi conciencia" me dice que no sea estupida que yo se que no podre terminarlo.

Patrimoine de Lyon

A Bergdorf Goodman window display.

El lunes 7 de noviembre, a las 9 horas, la Sala 26 de abril de la sede institucional acogió el acto de bienvenida a los 5 profesionales de Enfermería de Mauritania que van a participar en la segunda edición del Curso de iniciación teórico-práctico sobre enfermería en cuidados intensivos, organizado conjuntamente por la Universidad de Las Palmas de Gran Canaria (ULPGC) y la Consejería de Economía, Conocimiento y Empleo del Gobierno de Canarias, a través de la Dirección General de Asuntos Económicos con África.

Más información: www.ulpgc.es/noticia/2022/11/07/ulpgc-forma-alumnado-maur...

Formé à Helsinki en 1997, FINNTROLL propose un style folklorique combiné à des sonorités variant du Death Metal au Black Metal. Les titres revisitent contes et légendes finnoises entourant le roi troll fictif « Rivfader » et les trolls combattant contre l'invasion chrétienne de leurs terres afin de répandre leurs croyances.

Originaire du Danemark, HATESPHERE évolue dans un Death Thrash tranchant reconnaissable dès les premières notes. Outre ses guitares énervées, solos et batterie martelante, le quintette se démarque avec ses performances live saluées par de nombreux magazines spécialisés, au point d’être consacré Meilleur Groupe Live au Danemark à l'occasion des Metal Awards.

Groupe de Death n’ Roll finlandais, PROFANE OMEN voit le jour en 1999. Après plusieurs démos sorties entre 2000 et 2004, le combo divulgue sont premier album « Beaten into Submission » en 2006, album qui combine des titres agressifs aux riffs groovy et passages allant du Thrash au Death Metal mélodique. En 2007 le groupe est nominé comme « Nouveau venu de l’Année » aux Finnish Metal Awards. Depuis les Finnois ont donné naissance à 3 nouveaux albums studio, dont le dernier « Reset » est sorti en Mars 2014.

"The National Railway Museum is a museum in York forming part of the Science Museum Group. The museum tells the story of rail transport in Britain and its impact on society. It is the home of the national collection of historically significant railway vehicles such as Mallard, Stirling Single, Duchess of Hamilton and a Japanese bullet train. In addition, the National Railway Museum holds a diverse collection of other objects from a household recipe book used in George Stephenson’s house to film showing a "never stop railway" developed for the British Empire Exhibition. It has won many awards, including the European Museum of the Year Award in 2001.

As of 2019 the museum is about to embark on a once-in-a-generation site development. As part of the York Central redevelopment which will divert Leeman Road, the National Railway Museum will be building a new entrance building to connect the two separate parts of the museum together. At the same time, the space around the museum will be landscaped to provide public spaces.

In 2020 architectural practice Feilden Fowles won an international competition to create the museum’s new £16.5 million Central Hall building—a key element of the museum’s Vision 2025 masterplan.

York is a cathedral city and unitary authority area in North Yorkshire, England. The population of the council area which includes nearby villages was 208,200 as of 2017[citation needed] and the population of the urban area was 153,717 at the 2011 census. Located at the confluence of the Rivers Ouse and Foss, it is the county town of the historic county of Yorkshire. The city is known for its famous historical landmarks such as York Minster and the city walls, as well as a variety of cultural and sporting activities, which makes it a popular tourist destination in England. The local authority is the City of York Council, a single tier governing body responsible for providing all local services and facilities throughout the city. The City of York local government district includes rural areas beyond the old city boundaries. It is about 25 miles north-east of Leeds and 34 miles north-west of Kingston upon Hull. York is the largest settlement in the ceremonial county of North Yorkshire.

The city was founded by the Romans as Eboracum in 71 AD. It became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria and Jórvík. In the Middle Ages, York grew as a major wool trading centre and became the capital of the northern ecclesiastical province of the Church of England, a role it has retained. In the 19th century, York became a major hub of the railway network and a confectionery manufacturing centre, a status it maintained well into the 20th century. During the Second World War, York was bombed as part of the Baedeker Blitz. Although less affected by bombing than other northern cities, several historic buildings were gutted and restoration efforts continued into the 1960s.

The economy of York is dominated by services. The University of York and National Health Service are major employers, whilst tourism has become an important element of the local economy. In 2016, York became sister cities with the Chinese city of Nanjing, as per an agreement signed by the Lord Mayor of York, focusing on building links in tourism, education, science, technology and culture. Today, the city is a popular tourist attraction, especially for international visitors from America, Germany, France and China. In 2017, York became UK's first human rights city, which formalised the city's aim to use human rights in decision making." - info from Wikipedia.

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

Now on Instagram.

Become a patron to my photography on Patreon.

Formado em 2000, o JAM Project é um grupo de cantores japoneses especializados em temas de animês (desenhos animados), tokusatsus (séries live-action) e jogos de videogames japoneses. É o principal expoente do gênero.

O objetivo do grupo é preservar as características originais do gênero musical, que desde a década de 90 tem a interferência do marketing da indústria fonográfica, envolvendo artistas do pop-rock japonês.

A formação atual é composta por Hironobu Kageyama, Masaaki Endoh, Masami Okui, Yoshiki Fukuyama, Hiroski Kitadani e Ricardo Cruz.

Southern Pylon under construction (Runcorn side) Form Traveller , (Mersey Gateway Bridge across the River Mersey between Runcorn and Widnes)......Please note ALL pictures on this Photostream are Copyright Protected

Forme grise

Dernière photo en 2014

Bonne et heureuse année 2015 à tous !!!

Cut from a sheet of 1" 40# tooling board, these will be vac formed with .10" PETG plastic to make up the transparent parts of the Transistor

Core-formed glass, 5th century B.C.E.

Vessel made of dark green core-formed glass. The body is cylindrical and flat round tray-shaped mouth rim has been attached to its short neck. A pair of dark green glass handles of the same type as those seen above on cat. No. 33 are attached just below the shoulders of the vessel (one handle has partial later additions). The base is relatively rounded. Yellow and turquoise threads wrap in threads around the body from directly below the mouth to the base and shifts up and down into a zigzag pattern. There is also one thread of yellow glass around the mouth of the jar. Modeled after the Greek vessel type the alabastron, this jar would have been used to hold the perfumed oils. Greek ceramics depict images of women carrying this type of jar suspended from a cord run through the two handles.

Text and image from the website of the Miho Museum.

Here we call this plant "Chinese Hat". The hummingbirds love these flowers, but they sure don't stay at one blossom very long. Quite a challenge to catch them feeding.

Technical Details

Nikon D7000

AF-S Nikkor 18-105mm f/3.5-5.6 ED DX

f/5.3 1/100sec 75mm ISO2000

Software: Adobe Lightroom 3.5

The Curtiss JN-4 was one of the most popular aircraft in the late 1910s and early 1920s. Designed by Englishman Benjamin Thomas, formerly with the Sopwith Aviation Company, it was manufactured by the Curtiss Aeroplane Co. of Hammondsport, New York. The JN built upon the previous Curtiss Model J and Model N series of trainers that had developed before the First World War. The name “Jenny” came from the JN designation and is associated with the American (Curtiss Aeroplane Co.) variants of this aircraft. It was originally developed as a training aircraft in response to a U.S. Army competition seeking a two-seater biplane (student in front, instructor behind) with dual controls. The JN-4 model first appeared in 1916 and sported a 90 hp Curtiss OX-5 water cooled V8 engine. By 1918 a larger 150 hp Hispano-Suiza engine was installed to provide more power. LINK - albertaaviationmuseum.com/in-formation-curtiss-jn-4-jenni...

The Curtiss Model 41 Lark was a commercial biplane manufactured by Curtiss Aeroplane and Motor Company that was used by pioneering airmail, airline and bush pilots in the 1920s. Patrica Airways operated a Lark for early bushplane operations. The aircraft flew with floats in warm weather, and skis in the winter. The aircraft was pressed into service as an early hearse once, with the cargo needing to be seated upside down in the open seat and secured with haywire.

(The Gazette newspaper - Montreal, Quebec, Canada •

Friday, March 12, 1926) - AIR SERVICE FOR RED LAKE DISTRICT - Company is Formed and Flying Boat and Cruiser Purchased - Red Lake, which was brought within one and half hours of the outer world on March 3, 1926 when the first airplane flight was made in from Hudson, as compared with from ten to twelve days previously, made with dogs, is to have an even better service with the formation yesterday of the Elliot Fairchild Air Service and the purchase of one aeromarine, seven passenger, all metal flying boat, together with a large deluxe cruiser passenger boat. Jack V. Elliot who inaugurated the original service with two machines, spent yesterday in Montreal making arrangements with the Fairchild Aerial Surveys Company of Canada Limited, with the result that a company has been formed and a charter applied for. To date there has been a daily service into Red Lake from Hudson, three planes being in operation and carrying two passengers and 500 pounds of baggage each. They cover the 140 miles separating Hudson and Red Lake in one hour and a half. Air mail is carried from Hudson, the post office address for Red Lake being via Rolling Portage, Ontario. Stamps for the air-mail service may be purchased from the post offices at Hudson (Hudson being the rail road station and Rolling Portage the post office address). Toronto. Winnipeg, Montreal, Ottawa. North Bay, Sudbury, Cobalt, Haileybury and Timiskaming. When navigation opens about May 1, a boat service is to be provided from Hudson to Pineridge, two-thirds the distance from Hudson to Red Lake, and the large flying boats will take passengers, mail and express freight the balance of the distance into Red Lake. Heavier packages and canoes are to be taken in by Indians, who will be brought back by airplane. The passenger cruiser, which has been purchased for the boat service, will have three staterooms with sleeping accommodation for 16 and day accommodation for 50, the journey by water taking seven or eight hours. It has been planned to erect a broadcasting station at Red Lake, Hudson and on the boat so that communications may be kept up between these three and the outer world at all times. President of the new company is Elwood Wilson, M E.I.C., and Jack V. Elliot is vice-president and general manager. LINK - www.newspapers.com/article/the-gazette-air-service-for-re...

(The Daily Sun-Times newspaper - Owen Sound, Ontario, Canada • Monday, March 22, 1926) - NEW AIRPLANE FOR HUDSON TO RED LAKE ROUTE IS ON THE WAY "The Lark" Leaving Buffalo for Toronto and There Will Take on Sleeping Bags, Etc. (Canadian Press Despatch) BUFFALO, N. Y., Mar. 22, 1926 -The new airplane, "'The Lark", to be used in the Lake service, by the Patricia Airway and Exploration company, arrived here shortly after noon, yesterday, from New York, with "Casey" Jones, test pilot for the Curtis Airplanes Corporation, in charge, and two passengers. Frederick Griffin, press writer, and Captain W. R. Maxwell, Director of the Ontario Provincial air service. The Lark expected to continue its northward flight, to-day, by way of Toronto, Sault Ste. Marie, Orient Bay, Sioux Lookout and Hudson. Roy Mitchell will replace Mr. Jones in the pilot's seat from this point. At Toronto the ship will take on snowshoes, sleeping bags, and food, preparation for an overland tramp, in the event of ship coming down unscheduled, in northern territory. LINK - www.newspapers.com/article/the-daily-sun-times-new-airpla...

(The Toronto Star newspaper - Toronto, Ontario, Canada •

Tuesday, June 29, 1926) - RED LAKE MAIL SERVICE - F. E. Davidson of the Patricia Air Service into Red Lake, made an announcement this morning that starting today all mail will be carried into Red Lake via Sioux Lookout instead of via Hudson. All letters should bear the mark "Via Sioux Lookout." The Elliot Fairchild service has been carrying mail since March 20th. From now on the Patricia Air Service will be permitted to issue their own postage stamps. The government intends to redeem the old Elliot-Fairchild stamps but in the meantime old stamps are good for carriage over the Patricia Air Service. The new Patricia stamps can now be purchased at post offices for 25 cents apiece. The Patricia Air Service makes the trip from Sioux Lookout to Red Lake in about 60 minutes. It also makes trips to Woman Lake, Pine Ridge and to Bull Dog Lake, Manitoba. The Elliot Fairchild boat service still continues. LINK - www.newspapers.com/article/the-toronto-star-red-lake-mail...

(The Toronto Star newspaper - Toronto, Ontario, Canada •

Wednesday, June 30, 1926) - Patricia Airways • Exploration- Above is reproduced a facsimile of one of new postal stickers of the Patricia Air Service, operating airplanes into Red Lake. The postmaster has granted the company permission to issue these stickers in future, and they can be procured at any post office for 25 cents apiece. The old Elliot-Fairchild stamps are being redeemed, but can still be used for letters. In future letters to Red Lake should be marked "Via Sioux Lookout." LINK - www.newspapers.com/article/the-toronto-star-patricia-airw...

Sherman Mills Fairchild (April 7, 1896 – March 28, 1971) was an American businessman and investor who founded over 70 companies, including Fairchild Aviation, Fairchild Industries, and Fairchild Camera and Instrument. LINK - en.wikipedia.org/wiki/Sherman_Fairchild

John "Jack" Vernon Elliot (1893 - 1964), was a pilot in the western Ontario area providing passenger service and flights for thrill seekers in the early 1920's. By 1925, he had his own flying school and by purchasing partially completed aircraft, managed to complete his own aircraft. LINK - www.semiofficials.ca/elliot_1.html

Lately I've been taking advice from folks like Ryan Kingslein, and Edouard Lanteri.

One of the main things I'm getting out of their advice, is that if you want to be able to sculpt, even in Zbrush, then you've got to know your anatomy. Understand the underlying causes of the surface forms you're trying to copy. That explains the skull.

The calipers are for measuring. Not necessarily for measuring the model of the skull, but for measuring the features of your model, so that you can transfer them to clay, either directly, or at some proportion. (Though I've determined that the model skull is in fact smaller than my own, probably closer to the size of my mom's head, though larger, of course than that of my five-year-old nephew.

People who have studied art are probably familiar with the idea of measuring figures in terms of heads. A figure 7 1/2 heads tall should be about average, but one 8 heads tall is idealized. People who are more into drawing, modeling or sculpting, may realize that the average face is likewise constructed to be about 5 eyes wide, whether the ears are included in this or if it only goes the the widest part of the bone structure seen from a front orthographic view is something you get different answers about from different sources, and this average face is also constructed to be about 7 eyes tall. 5x7 makes a good portrait, no? The astute reader may also know that this lore of proportions for the figure in art comes to us from the canon of Polykleitos, one of the most celebrated sculptors of ancient Greece, and has been puzzled over by the Roman architect, Vitruvius, and through his writings, inspired Leonardo da Vinci, to draw the Vitruvian Man, the iconic figure of a man with two pairs of outstretched arms, and two pair of legs, straight and spread, touching the inside of a circle and a square overlapped around him.

Where do these proportions come from? Why use such odd units as heads and eyes rather than feet and inches?

These rules of measuring probably derive from measurements made for sculpture, with calipers, and the most artistically relevant body parts were chosen, for their importance, and because one could easily see them straight-on, while the model held a pose. Proportional units were chosen, because sculptors work at many scales, life size, half life size, miniature figurines and colossal monuments.

Calipers allow one to take straight-line measurements from points on opposite sides of curved surfaces. A great variety of them exist for measuring a variety of objects for many purposes, plumbing, jewelery-making, gunsmithing etc. Most of these consist of a claw-like pair of straight-edges that slide along each other with a graduated ruler. This, by contrast, is more of a curved compass, just two flat pieces of metal with a stiff joint, so that a measurement can be taken from two points, and and transferred, to the clay or to a place where a measurement can be recorded, without the length getting longer or shorter when transferred.

On a photographic note, I might mention that knowing the strobist technique, of placing the flash off-camera, and bouncing it from a wall helps to get a very natural looking diffused light coming from the left, and that the advice in the book, "Light, Science and Magic," about considering the family of angles reflected in a metal surface helped me to determine how the calipers could be visible and look natural in a photo.

Like it? Would send me some bitcoin as a tip?

1H76GsGpfkyg2PtwnsZnTYgED3NinWgsG6

Or QR code here: www.flickr.com/photos/sightrays/8672657341/

Form 5 Confirmation Mass 2021

English session 1

16 Confirmants

Celebrated by Father Andrew Wong

F5Confirmation: Anointing with Chrism Oil

Eugene Siow Jing Herng

This is only some of the forms, income slips and receipts I received during 2011 to report my 2011 income tax. It's so freaking complicated and annoying.

The Hong Kong expat community has a sarcastic nickname for Canada's tax recenue agency -- the Land of Ten Thousand Taxes.

You're given so many income slips, receipts and forms to file. When I used to do it using paper, pen and calculator, it used to take me at least one day to go through all of them, and that's because I'm very well-organised and have all the forms in a folder already. I know people who spend days and weeks to gather all the forms.

In Hong Kong, there's no sales tax, no VAT, no tax on interest and investment income (to encourage people to save and invest, rather than rely on the government). People pay a uniform 16% tax on employment income in Hong Kong. That's it, end of story.

Here in Canada, you report all kinds of income, then the government gives you a number of tax credits to offset the tax deducted, and some tax refunds. But it's so complicated! I get a headache just thinking about it each spring : (

Angkor Wat or "Capital Temple" is a temple complex in Cambodia and the largest religious monument in the world. It was first a Hindu and later a Buddhist temple. It was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura, present-day Angkor, the capital of the Khmer Empire, as his state temple and eventual mausoleum.

Breaking from the Shiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. As the best-preserved temple at the site, it is the only one to have remained a significant religious center since its foundation. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple, based on early Dravidian architecture, with key features such as the Jagati. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 kilometres long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls.

The modern name, Angkor Wat, means "Temple City" or "City of Temples" in Khmer; Angkor, meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ), which comes from the Sanskrit word nagara (नगर). Wat is the Khmer word for "temple grounds" (Sanskrit: वाट vāṭa ""enclosure").

HISTORY

Angkor Wat lies 5.5 kilometres north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. It is in an area of Cambodia where there is an important group of ancient structures. It is the southernmost of Angkor's main sites.

According to one legend, the construction of Angkor Wat was ordered by Indra to act as a palace for his son Precha Ket Mealea.

According to the 13th century Chinese traveler Daguan Zhou, it was believed by some that the temple was constructed in a single night by a divine architect. The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113-C. 1150). Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as "Varah Vishnu-lok" after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished.

In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kilometers to the north.

In the late 13th century, Angkor Wat gradually moved from Hindu to Theravada Buddhist use, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned, its preservation being due in part to the fact that its moat also provided some protection from encroachment by the jungle.

One of the first Western visitors to the temple was António da Madalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."

In the mid-19th century, the temple was visited by the French naturalist and explorer, Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:

"One of these temples - a rival to that of Solomon, and erected by some ancient Michelangelo - might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged."

Mouhot, like other early Western visitors, found it difficult to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site. There were no ordinary dwellings or houses or other signs of settlement including cooking utensils, weapons, or items of clothing usually found at ancient sites. Instead there is the evidence of the monuments themselves.

Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation. Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.The temple is a powerful symbol of Cambodia, and is a source of great national pride that has factored into Cambodia's diplomatic relations with France, the United States and its neighbor Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and even transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937. Angkor Wat's aesthetics were also on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from C. 1880 to the mid-1920s. The splendid artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country that had been under Siamese (Thai) control since 1351 AD (Manich Jumsai 2001), or by some accounts, 1431 AD. Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since that time.

ARCHITECTURE

SITE AND PLAN

Angkor Wat, located at 13°24′45″N 103°52′0″E, is a unique combination of the temple mountain, the standard design for the empire's state temples and the later plan of concentric galleries. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple.Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction - prasavya in Hindu terminology - as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services. The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.

A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.

STYLE

Angkor Wat is the prime example of the classical style of Khmer architecture - the Angkor Wat style - to which it has given its name. By the 12th century Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested. The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style." Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.

FEATURES

OUTER ENCLOSURE

The outer wall, 1024 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper. Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine.Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth. The outer wall encloses a space of 820,000 square metres, which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.

CENTRAL STRUCTURE

The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma, the moon, and Vishnu.

Each gallery has a gopura at each of the points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because the temple faces west, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.

The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (the "Hall of a Thousand Gods"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.

North and south of the cloister are libraries.

Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru.

Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.

DECORATION

Integrated with the architecture of the building, and one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving".

From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology.

On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst"). and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna. Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.

CONSTRUCTION TECHNIQUES

The stones, as smooth as polished marble, were laid without mortar with very tight joints that are sometimes hard to find. The blocks were held together by mortise and tenon joints in some cases, while in others they used dovetails and gravity. The blocks were presumably put in place by a combination of elephants, coir ropes, pulleys and bamboo scaffolding. Henri Mouhot noted that most of the blocks had holes 2.5 cm in diameter and 3 cm deep, with more holes on the larger blocks. Some scholars have suggested that these were used to join them together with iron rods, but others claim they were used to hold temporary pegs to help manoeuvre them into place. The monument was made out of millions of tonnes of sandstone and it has a greater volume as well as mass than the Great Pyramid of Giza in Egypt. The Angkor Wat Temple consumes about 6 million to 10 million blocks of sandstone with an average weight of 1.5 tons each. In fact, the entire city of Angkor used up far greater amounts of stone than all the Egyptian pyramids combined, and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids which use limestone quarried barely half a km away all the time, the entire city of Angkor was built with sandstone quarried 40 km (or more) away. This sandstone had to be transported from Mount Kulen, a quarry approximately 40 km to the northeast. The route has been suggested to span 35 kilometres along a canal towards Tonlé Sap lake, another 35 kilometres crossing the lake, and finally 15 kilometres upstream and against the current along Siem Reap River, making a total journey of 90 kilometres. However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2012 a shorter 35-kilometre canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.

Virtually all of its surfaces, columns, lintels even roofs are carved. There are miles of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots as well as warriors following an elephant-mounted leader and celestial dancing girls with elaborate hair styles. The gallery wall alone is decorated with almost 1000 square metres of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were a prime target for robbers. While excavating Khajuraho, Alex Evans, a stonemason and sculptor, recreated a stone sculpture under 1.2 m, this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labor force to quarry, transport, carve and install so much sandstone must have run into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artifacts that have been dated to the seventh century, before the Khmer came to power.

ANGKOR WAT TODAY

The Archaeological Survey of India carried out restoration work on the temple between 1986 and 1992. Since the 1990s, Angkor Wat has seen continued conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site. The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed restoration of the north library of the outer enclosure in 2005. World Monuments Fund began conservation work on the Churning of the Sea of Milk Gallery in 2008 after several years of conditions studies. The project restored the traditional Khmer roofing system and removed cement used in earlier restoration attempts that had resulted in salts entering the structure behind the bas-relief, discoloring and damaging the sculpted surfaces. The main phase of work ended in 2012, and the final component will be the installation of finials on the roof of the gallery in 2013. Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Angkor Wat has become a major tourist destination. In 2004 and 2005, government figures suggest that, respectively, 561.000 and 677.000 foreign visitors arrived in Siem Reap province, approximately 50% of all foreign tourists in Cambodia for both years. The site has been managed by the private SOKIMEX group since 1990, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti; ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance - as of 2000 approximately 28% of ticket revenues across the whole Angkor site was spent on the temples - although most work is carried out by foreign government-sponsored teams rather than by the Cambodian authorities. Since Angkor Wat has seen significant growth in tourism throughout the years UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organized seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasized the importance of providing high quality accommodation and services in order for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed with regard to traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large amounts of tourists. The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat. Locals of Siem Reap have also voiced concern over the charming nature and atmosphere of their town being compromised in order to entertain tourism. Since this charming local atmosphere is the key component to projects like Angkor Tourist City, local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture. At the ASEAN Tourism Forum 2012, both parties have agreed Borobudur and Angkor Wat to become sister sites and the provinces will become sister provinces. Two Indonesian airlines are considering the opportunity to open a direct flight from Yogyakarta, Indonesia to Siem Reap.

WIKIPEDIA

Statue of Amun in the form of a Ram protecting King Taharqa (the small statue between the Ram's legs). At least three Ancient Egyptian granitic gneiss statues of Amun in the form of a ram protecting King Taharqa were displayed at the Temple of Amun at Kawa in Nubia. Construction of the stone temple was started in 683 BC by the pharaoh Taharqa. The ram is one of the animals sacred to Amun, and several temples dedicated to Amun, including the one at Karnak featured ram or ram-headed sphinx statues.

Just off Paternoster Square.

Artwork in Milkbar in Soho.

Tumblr

Canon AE-1, Kodak 400

With the vacuum cleaner running, push the frame and the hot plastic down onto the mould until the frame seals against the weather stripping -- and BAM, the plastic slams down onto the mould.

Turn off the vacuum and give the plastic a minute to cool.

Hey, this thing works pretty good. I got a couple ideas of stuff to make with it now, like custom model boat hulls, or maybe a storm trooper costume...

www.doublellama.net

4/9/2017 - Curso “A Importância da Formação Humanística do Magistrado – Uma comparação filosófica Europa/América Latina” - Emagis TRF4 - Foto: Sylvio Sirangelo/TRF4

CHOY GALI FORMING ON LINE

De forme rectangulaire, cette porte construite en 1420 fait écho à la celle de la Floraison ou Gloire occidentale (Xihuamen). Avec sa plate-forme rouge, elle repose sur un socle en marbre blanc selon un style bouddhiste, bâtiment dans lequel sont percées les trois passages voutés. La tour carrée et son double toit, avec 5 arches de large et 3 m de profondeur est entourée de colonnes de marbre blanc. Au début de la dynastie Qing, seuls les fonctionnaires du Cabinet étaient autorisés à passer par cette porte, alors qu'au milieu du règne de Qianlong, les ministres âgés du premier degré et du second degré avaient ce privilège. Les cercueils des empereurs Qing, les impératrices et les régents avaient aussi l'autorisation d'y passer, d'où le nom de Guimen : porte de fantôme). Celle-ci dispose de 8 clous, et non 9 comme les autres, du fait que le 9 est le chiffre de l'empereur et 8 celui des choses fantomatiques (cf.wikipedia).

Rapid strata formation in soft sand (field evidence).

Photo of strata formation in soft sand on a beach, created by tidal action of the sea.

Formed in a single, high tidal event. Stunning evidence which displays multiple strata/layers.

Why this is so important ....

It has long been assumed, ever since the 17th century, that layers/strata observed in sedimentary rocks were built up gradually, layer upon layer, over many years. It certainly seemed logical at the time, from just looking at rocks, that lower layers would always be older than the layers above them, i.e. that lower layers were always laid down first followed, in time, by successive layers on top.

This was assumed to be true and became known as the superposition principle.

It was also assumed that a layer comprising a different material from a previous layer, represented a change in environmental conditions/factors.

These changes in composition of layers or strata were considered to represent different, geological eras on a global scale, spanning millions of years. This formed the basis for the Geologic Column, which is used to date rocks and also fossils. The evolutionary, 'fossil record' was based on the vast ages and assumed geological eras of the Geologic Column.

There was also circular reasoning applied with the assumed age of 'index' fossils (based on evolutionary beliefs & preconceptions) used to date strata in the Geologic Column. Dating strata from the assumed age of (index) fossils is known as Biostratigraphy.

We now know that, although these assumptions seemed logical, they are not supported by the evidence.

At the time, the mechanics of stratification were not properly known or studied.

An additional factor was that this assumed superposition and uniformitarian model became essential, with the wide acceptance of Darwinism, for the long ages required for progressive microbes-to-human evolution. There was no incentive to question or challenge the superposition, uniformitarian model, because the presumed, fossil 'record' had become dependant on it, and any change in the accepted model would present devastating implications for Darwinism.

This had the unfortunate effect of linking the study of geology so closely to Darwinism, that any study independent of Darwinian considerations was effectively stymied. This link of geology with Darwinian preconceptions is known as biostratigraphy.

Some other field evidence can be observed here: www.flickr.com/photos/101536517@N06/sets/72157635944904973/

and also in the links to stunning, experimental evidence, carried out by sedimentologists, given later.

_______________________________________________

GEOLOGIC PRINCIPLES (established by Nicholas Steno in the 17th Century):

What Nicolas Steno believed about strata formation is the basis of the principle of Superposition and the principle of Original Horizontality.

dictionary.sensagent.com/Law_of_superposition/en-en/

“Assuming that all rocks and minerals had once been fluid, Nicolas Steno reasoned that rock strata were formed when particles in a fluid such as water fell to the bottom. This process would leave horizontal layers. Thus Steno's principle of original horizontality states that rock layers form in the horizontal position, and any deviations from this horizontal position are due to the rocks being disturbed later.”)

BEDDING PLANES.

'Bedding plane' describes the surface in between each stratum which are formed during sediment deposition.

science.jrank.org/pages/6533/Strata.html

“Strata form during sediment deposition, that is, the laying down of sediment. Meanwhile, if a change in current speed or sediment grain size occurs or perhaps the sediment supply is cut off, a bedding plane forms. Bedding planes are surfaces that separate one stratum from another. Bedding planes can also form when the upper part of a sediment layer is eroded away before the next episode of deposition. Strata separated by a bedding plane may have different grain sizes, grain compositions, or colours. Sometimes these other traits are better indicators of stratification as bedding planes may be very subtle.”

______________________________________________

Several catastrophic events, flash floods, volcanic eruptions etc. have forced Darwinian, influenced geologists to admit to rapid stratification in some instances. However they claim it is a rare phenomenon, which they have known about for many years, and which does nothing to invalidate the Geologic Column, the fossil record, evolutionary timescale, or any of the old assumptions regarding strata formation, sedimentation and the superposition principle. They fail to face up to the fact that rapid stratification is not an extraordinary phenonemon, but rather the prevailing and normal mechanism of sedimentary deposition whenever and wherever there is moving, sediment-laden water. The experimental evidence demonstrates the mechanism and a mass of field evidence in normal (non-catastrophic) conditions shows it is a normal everyday occurrence.

It is clear from the experimental evidence that the usual process of stratification is - that strata are not formed by horizontal layers being laid on top of each other in succession, as was assumed. But by sediment being sorted in the flowing water and laid down diagonally in the direction of flow. See diagram:

www.flickr.com/photos/truth-in-science/39821536092/in/dat...

The field evidence (in the image) presented here - of rapid, simultaneous stratification refutes the Superposition Principle and the Principle of Lateral Continuity.

We now know, the Superposition Principle only applies on a rare occasion where sedimentary deposits are laid down in still water.

Superposition is required for the long evolutionary timescale, but the evidence shows it is not the general rule, as was once believed. Most sediment is laid down in moving water, where particle segregation is the general rule, resulting in the simultaneous deposition of strata/layers as shown in the photo.

See many other examples of rapid stratification (with geological features): www.flickr.com/photos/101536517@N06/sets/72157635944904973/

Rapid, simultaneous formation of layers/strata, through particle segregation in moving water, is so easily created it has even been described by sedimentologists (working on flume experiments) as a law ...

"Upon filling the tank with water and pouring in sediments, we immediately saw what was to become the rule: The sediments sorted themselves out in very clear layers. This became so common that by the end of two weeks, we jokingly referred to Andrew's law as "It's difficult not to make layers," and Clark's law as "It's easy to make layers." Later on, I proposed the "law" that liquefaction destroys layers, as much to my surprise as that was." Ian Juby, www.ianjuby.org/sedimentation/

The example in the photo is the result of normal, everyday tidal action in a single incident. Where the water current or movement is more turbulent, violent, or catastrophic, great depths (many metres) of stratified sediment can be laid down in a short time. Certainly not the many millions of years assumed by evolutionists.

The composition of strata formed in any deposition event. is related to whatever materials are in the sediment mix, not to any particular timescale. Whatever is in the mix will be automatically sorted into strata/layers. It could be sand, or other material added from mud slides, erosion of chalk deposits, coastal erosion, volcanic ash etc. Any organic material (potential fossils), alive or dead, engulfed by, or swept into, a turbulent sediment mix, will also be sorted and buried within the rapidly, forming layers.

See many other examples of rapid stratification with geological features: www.flickr.com/photos/101536517@N06/sets/72157635944904973/

Stratified, soft sand deposit. demonstrates the rapid, stratification principle.

Important, field evidence which supports the work of the eminent, sedimentologist Dr Guy Berthault MIAS - Member of the International Association of Sedimentologists.

(Dr Berthault's experiments (www.sedimentology.fr/)

And also the experimental work of Dr M.E. Clark (Professor Emeritus, U of Illinois @ Urbana), Andrew Rodenbeck and Dr. Henry Voss, (www.ianjuby.org/sedimentation/)

Location: Sandown, Isle of Wight. Formed 06/06/2018, This field evidence demonstrates that multiple strata in sedimentary deposits do not need millions of years to form and can be formed rapidly. This natural example confirms the principle demonstrated by the sedimentation experiments carried out by Dr Guy Berthault and other sedimentologists. It calls into question the standard, multi-million year dating of sedimentary rocks, and the dating of fossils by depth of burial or position in the strata.

Mulltiple strata/layers are evident in this example.

Dr Berthault's experiments (www.sedimentology.fr/) and other experiments (www.ianjuby.org/sedimentation/) and field studies of floods and volcanic action show that, rather than being formed by gradual, slow deposition of sucessive layers superimposed upon previous layers, with the strata or layers representing a particular timescale, particle segregation in moving water or airborne particles can form strata or layers very quickly, frequently, in a single event.

youtu.be/wFST2C32hMQ

youtu.be/SE8NtWvNBKI

And, most importantly, lower strata are not older than upper strata, they are the same age, having been created in the same sedimentary episode.

Such field studies confirm experiments which have shown that there is no longer any reason to conclude that strata/layers in sedimentary rocks relate to different geological eras and/or a multi-million year timescale. www.youtube.com/watch?v=5PVnBaqqQw8&feature=share&amp.... they also show that the relative position of fossils in rocks is not indicative of an order of evolutionary succession. Obviously, the uniformitarian principle, on which the geologic column is based, can no longer be considered valid. And the multi-million, year dating of sedimentary rocks and fossils needs to be reassessed. Rapid deposition of stratified sediments also explains the enigma of polystrate fossils, i.e. large fossils that intersect several strata. In some cases, tree trunk fossils are found which intersect the strata of sedimentary rock up to forty feet in depth. upload.wikimedia.org/wikipedia/commons/thumb/0/08/Lycopsi... They must have been buried in stratified sediment in a short time (certainly not millions, thousands, or even hundreds of years), or they would have rotted away. youtu.be/vnzHU9VsliQ

In fact, the vast majority of fossils are found in good, intact condition, which is testament to their rapid burial. You don't get good fossils from gradual burial, because they would be damaged or destroyed by decay, predation or erosion. The existence of so many fossils in sedimentary rock on a global scale is stunning evidence for the rapid depostion of sedimentary rock as the general rule. It is obvious that all rock containing good intact fossils was formed from sediment laid down in a very short time, not millions, or even thousands of years.

See set of photos of other examples of rapid stratification: www.flickr.com/photos/101536517@N06/sets/72157635944904973/

Carbon dating of coal should not be possible if it is millions of years old, yet significant amounts of Carbon 14 have been detected in coal and other fossil material, which indicates that it is less than 50,000 years old. www.ldolphin.org/sewell/c14dating.html

www.grisda.org/origins/51006.htm

Evolutionists confidently cite multi-million year ages for rocks and fossils, but what most people don't realise is that no one actually knows the age of sedimentary rocks or the fossils found within them. So how are evolutionists so sure of the ages they so confidently quote? The astonishing thing is they aren't. Sedimentary rocks cannot be dated by radiometric methods*, and fossils can only be dated to less than 50,000 years with Carbon 14 dating. The method evolutionists use is based entirely on assumptions. Unbelievably, fossils are dated by the assumed age of rocks, and rocks are dated by the assumed age of fossils, that's right ... it is known as circular reasoning.

* Regarding the radiometric dating of igneous rocks, which is claimed to be relevant to the dating of sedimentary rocks, in an occasional instance there is an igneous intrusion associated with a sedimentary deposit -

Prof. Aubouin says in his Précis de Géologie: "Each radioactive element disintegrates in a characteristic and constant manner, which depends neither on the physical state (no variation with pressure or temperature or any other external constraint) nor on the chemical state (identical for an oxide or a phosphate)."

"Rocks form when magma crystallizes. Crystallisation depends on pressure and temperature, from which radioactivity is independent. So, there is no relationship between radioactivity and crystallisation.

Consequently, radioactivity doesn't date the formation of rocks. Moreover, daughter elements contained in rocks result mainly from radioactivity in magma where gravity separates the heavier parent element, from the lighter daughter element. Thus radiometric dating has no chronological signification." Dr. Guy Berthault www.sciencevsevolution.org/Berthault.htm

Visit the fossil museum:

www.flickr.com/photos/101536517@N06/sets/72157641367196613/

Just how good are peer reviews of scientific papers?

www.sciencemag.org/content/342/6154/60.full

www.examiner.com/article/want-to-publish-science-paper-ju...

The neo-Darwinian idea that the human genome consists entirely of an accumulation of billions of mutations is, quite obviously, completely bonkers. Nevertheless, it is compulsorily taught in schools and universities as 'science'.

www.flickr.com/photos/truth-in-science/35505679183

Form 5 Confirmation Mass 2021

English session 1

16 Confirmants

Celebrated by Father Andrew Wong

Instruction: Look at the Priest