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Theyyam (Malayalam: തെയ്യം) or Theyyattam or Thira is a popular Hindu ritual form of worship of North Malabar in Kerala state, India, predominant in the Kolathunadu area (consisting of present-day Kasargod, Kannur Districts, Mananthavady Taluk of Wayanad and Vadakara & Koyilandy Taluks of Kozhikode of Kerala state. As a living cult with several thousand-year-old traditions, rituals and customs, it embraces almost all the castes and classes of the Hindu religion in this region. The performers of Theyyam belong to the indigenous tribal community, and have an important position in Theyyam. This is unique, since only in Kerala, do both the upper-caste Brahmins and lower-caste tribals share an important position in a major form of worship. The term Theyyam is a corrupt form of Devam or God. People of these districts consider Theyyam itself as a God and they seek blessings from this Theyyam. A similar custom is followed in the Tulu Nadu region of neighbouring Karnataka known as Bhuta Kola
Rodney Gray Cup returns to Bangor by Roger Corbett
Bangor's good run of form continued with a convincing 41-13 league win against local rivals Donaghadee, regaining the Rodney Gray Cup in the process.
The afternoon got off to a great start with the clubhouse close to full capacity for the pre-match corporate lunch. Although many chose to stay indoors and view the game in comfort, many more gathered along the touchlines to watch this keenly contested fixture. North Down pride was at stake, with not only league points on offer, but also the Rodney Gray Cup which has particular importance for both sides.
As Donaghadee got the game underway, playing with the wind at their backs, conditions were good and the prospect of good running rugby was anticipated. The first scrum, after 5 minutes of play, heralded a problem for both sides. For Donaghadee, they were completely overpowered and saw their pack disrupted. However, for Bangor, the referee viewed Bangor’s power as being applied in an illegal fashion and penalised their pack as a result. The penalty kick from Bangor’s twenty two was pushed wide.
A clever drop-out by Jason Morgan saw Bangor hold on to possession and start to work back down field. The back line that has worked so well together then kicked into action. A move which started with Mike Weir, showing his strength to ride out some touch tackles, continued through Curtis Stewart, Jason Morgan and Ricky Armstrong before reaching Chris Morgan who had joined the line on the left wing. Having made an overlap, Morgan had the room and pace to run in at the left hand corner for a well worked try. Mark Widdowson kicked the conversion putting Bangor ahead by 7-0.
Another strange penalty decision against Bangor at a scrum gave the visitors another chance to kick at goal, but once again the tricky wind conditions forced the kick wide. Almost immediately, Donaghadee were awarded yet another penalty, and this time the kick was good, making the score now 7-3 with 12 minutes gone.
Another penalty opportunity for Donaghadee after 20 minutes was unsuccessful. Within minutes of the restart, the ball came to Jason Morgan just outside Donaghadee’s twenty two. Although tackled and brought to the ground, he had the presence of mind to release the ball, then pick it up again as he got to his feet. With Jamie Clegg in close support, it looked like the pass was on, but instead Morgan shrugged off another tackle and dashed through to score under the posts. Widdowson’s kick was successful, extending the lead to 14-3.
Bangor’s backs were now looking to be in control, and when another attacking move started to build, a Donaghadee player was guilty of deliberately knocking the ball forward, resulting in a yellow card. As is so often the case in situations like this, the loss of a player for 10 minutes left Donaghadee with too much space to cover, resulting in another Chris Morgan try, after Bangor had quickly passed the ball wide, exploiting the free space. Although Donaghadee bravely fought back and were pressing hard in Bangor’s twenty two, a turn-over gave possession back to Bangor. Although tackled hard, Mike Weir managed to stay on his feet and broke through the centre. Having made good ground and drawn other defenders, he passed outside to Davy Charles on the right wing whose pace and footwork were too much for the retreating defence, allowing him to touch down for Bangor’s bonus point try. The conversion was missed, but Bangor were now a comfortable 24-3 ahead.
From the scrappy restart, Bangor failed to gather the ball and immediately found themselves on the back foot. This time the Donaghadee players combined well, taking advantage of an out-of-shape defence, to run in to the right of Bangor’s posts and score an unconverted try, bringing the half time score to 24-8.
As Bangor got the second half underway, the weather was beginning to deteriorate, although the wind was now in their favour. Despite a number of good attacking positions, Bangor failed to add to their score as a result of mishandling and a growing penalty count. From one of these penalties, Donaghadee kicked for touch inside Bangor’s twenty two. The resulting lineout was taken cleanly and the subsequent forward drive proved too difficult to stop, resulting in a try wide on the left of Bangor’s posts. The difficult kick was missed but, with a try either side of half time, Donaghadee now found themselves back in the game at 24-13.
Unfortunately, this was as good as it got for the visitors. With the wind strengthening, and the rain coming down heavily, conditions were becoming difficult for both sides. However, the strength of Bangor’s pack came to the fore once again when, from a lineout inside Donaghadee’s twenty two, Ryan Latimer made a charge towards the line. Although surrounded by several defenders, Latimer pressed forward, aided by his own forwards, until he crossed the line. Minutes later it was the backs turn to score, as Mike Aspley broke through the centre before unselfishly passing to Mike Weir who had a clear run to touch down under the posts. These scores pushed Bangor well in front by 36-13, with 23 minutes gone.
For most of the remainder of the game, the most difficult opponent was the weather. The combination of a slippery ball and cold hands led to many missed passes by both sides. But just as the game entered its final phase, the Bangor pack once again imposed their authority on the Donaghadee scrum, allowing Scott Irvine to pick up and drive over from short distance to score. This proved to be the final play of the game, resulting in a final score of 41-13 in Bangor’s favour.
While not without its faults, this was another complete team performance from Bangor that continues to build in confidence, and augers well for the challenge next week when they travel to Shaws Bridge to face an equally in-form Instonians in the quarter final of the Junior Cup.
Bangor side: S Irvine, A Jackson, P Whyte, G Irvine, J Henly, R Latimer, J Clegg (c), C Stewart, R Armstrong, J Morgan, M Widdowson, M Aspley, M Weir, D Charles, C Morgan
Subs: O McIlmurray, M Thompson
Bangor scores: C Morgan (2T), J Morgan (1T), D Charles (1T), R Latimer (1T), M Weir(1T), S Irvine (1T), M Widdowson (3C)
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
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The newly formed Senior Wrestling League competition between Aspull Warriors and City of Manchester Wrestling Club, was held at the Aspull on Saturday Saturday 21 Jan 2023.
Following 10 exciting and tough matches City of Manchester gained the win.
Aspull Warriors 19 City of Manchester 26
This event is part of the two pilot leagues which were launching in September 22.
This could be a huge step for the development of wrestling in this country. If successful with our pilot season this could lead to the launch of a nationwide league launching in every region of the UK by the end of 2023.
The clubs competing in the inaugural Northern Seniors Wrestling League are:-
Manchester Y-Club Wrestling
@aspullwarriorswrestling
@bowcbears
@manchester_wrestling_club
@empower_wrestling
@bradfordwrestlingacademy
Kangaroo Flat Indoor Bowling Club Hall formed 1934, at times also referred to as the Roseworthy Indoor Bowling Club and the Bowling Club Hall.
*The annual meeting of the Roseworthy Indoor Bowling Club was held on Thursday night, when the following officers were elected: — President, E Rice: Captain H Dahlitz: Secretary, J Thompson: Treasurer, G H Bammann. Ref: Bunyip (Gawler SA) Friday 8 July 1927.
*To assist the rebuilding fund, a dance was held in the Roseworthy Memorial Hall. Novelty dances were won by Mr R A Dahlitz and Miss Vera Dahlitz and Mr Milton and Miss Hazel Carter. Music was supplied by Miss D Ormsby and Mr H A Dahlitz was MC.
After a lapse of two years the Roseworthy Indoor Bowling Club has been reformed.
A dance was held in the Scout and Guide Hall, near Roseworthy College the proceeds of which were for hall funds. Miss D Ormsby was the pianist. Ref: Advertiser (Adelaide SA) Tuesday 24 April 1934.
*To bid farewell to Mr and Mrs Ralph Baker, from Roseworthy Agricultural College, the members of the Kangaroo bowls club gave a social in the club hall. Mr Hurtle Day, on behalf of club members, expressed regret at the loss of the guests as members, and presented them with a set of crystal jug and goblets. Other speakers were Mrs E A Mitchell, Messrs Lucas, V W Day, Humphries senr, and S Alexander.
Owing to the infantile paralysis epidemic it has been decided not to hold dances in aid of the Soldiers' Memorial Hall at present. Ref: Bunyip (Gawler SA) Friday 18 February 1938.
*On Saturday, 25th May, an enjoyable evening was spent in the Kangaroo Flat Bowling Club Hall, the occasion celebrating the coming of age of Mr Walter Haydon also a kitchen evening to his fiancee, Miss Joyce Nottle. Friends from Adelaide, Kersbrook, Mallala, Willaston, Two Wells, Gawler, Reeves Plains, and Wasleys were present, amounting to over 100. Mr M Hatcher occupied the chair, and Mrs J W Curnow was pianist. Games, solos, recitations, competitions, community singing and dancing were indulged in. A dainty supper was handed around. The guest was asked to cut his three-tiered birthday cake. Speeches were made by Mr W Leak, Mr E Beckwith and Miss J McDonald. A presentation of a travelling rug and a gold mounted pencil was made to Mr Haydon and a large table of useful kitchen utensils to Miss Nottle. Mr Haydon suitably responded. Ref: Bunyip (Gawler SA) Friday 31 May 1940.
*Kangaroo Flat Babies raise a total of £350 11/9.
At a well attended dance in the Bowling Club Hall at Kangaroo Flat on Saturday evening, the final of the Red Cross Junior competition was decided.
The membership of the Kangaroo Flat Circle this year is 31. The dance to be held in the Kangaroo Flat Hall next Saturday night will be for the successful baby Jillian Dawkins in the Country Baby Competition. Ref: Bunyip (Gawler SA) Friday 27 November 1942.
*The Kangaroo Flat school had its Break-up and Christmas tree in the Bowling Club hall, Thursday evening, December 17th The chairman (Mr Oates) presided. Items were given by the school children. Miss Jean Growden was the accompanist. The headteacher read the report. Father Christmas was in attendance and each child received a gift and sweets from the tree. Strawberries and cream were served, and cool drinks were on sale. Prizes were presented. Ref: Bunyip (Gawler SA) Thursday 24 December 1942.
*Returned Soldiers Club Building Appeal
A dance has been arranged by the people of Kangaroo Flat to aid the Appeal. This will be held in the Bowling Club Hall opposite the College on Saturday, September 28th at 8 pm. A good orchestra has been engaged, there will be a Monte Carlo dance and a very nice supper. Tickets are 1/11. Ref: Bunyip (Gawler SA) Friday 20 September 1946.
*ROCA Digest – Autumn 2019
However, during two recent oral history recordings, one with the Hon Dr Bruce Eastick AM (RDA 1947) and the other with Brian Condon OAM (RDA 1946), they both talked about the Saturday night dances held every month, an important event on the social calendar for male students at the time. Back to the beginning: In 1929, the local Girl Guides needed a hall, so a committee was formed. The College Principal at the time, Walter Birks, chaired the first committee. A loan was secured from the State Bank for a hall to be constructed on land (about ½ hectare) purchased from Bill Fairley for £25. The hall cost £270, built by Sidney Halford Pimlott, completed in 1931. However, the Girl Guides and Scouts got into financial difficulties and could not service the loan.
A group of locals came forward and took over the Hall that was then used for indoor bowls, table tennis, dances, wedding receptions, meetings and other events. The Kangaroo Flat Indoor Bowling Club was formed in 1934 and is still going in 2019.
The Table Tennis Club started in 1953, an added activity enjoyed by the locals. I must say that so far in my research I have not found any reference to student participation in the bowls and table tennis. Perhaps they wanted these activities for the locals only and didn’t want to get swamped by a mob of lads!
The dances were another matter though. Both Brian Condon and Bruce Eastick had attended these. Bruce ended up as MC in his last couple of years as a student. Bruce recalls that there was a fairly good supper laid on at the dance and to the young men at Roseworthy College, young women and good food were both attractive (especially as there was food rationing at the time). However, there was a bit of a scheme hatched by the senior students. Young women were chaperoned by their mothers who brought the supper. So to ensure a regular supply of supper, the First Years were directed to make sure all the girls had regular dances during the evening. There were to be no ‘wallflowers’ at this dance – if girls stopped attending it would decrease the supply of good suppers!
The band was a simple ensemble of a pianist and a basic drum kit. A piano accordion or other instruments joined in on some nights. The dances waned as motor transport became more common and Gawler became the main attraction for socialising. Many of us will remember the ‘New Boys Test’ as part of our initiation into life at the College in our first couple of weeks as First Years.
NEWS FROM THE ARCHIVES On a blank map of the college, among all the buildings, staff houses, landmarks, facilities etc to identify, there was an old galvanized iron hall at the very north of the staff houses along the road to Wasleys just short of the entrance to the old Piggery. This was known as the ‘Tin Tabernacle’. The proper name was actually the Kangaroo Flat Hall but no one at College seemed to know that. There didn’t seem to be much other information about it. It didn’t belong to the College and I don’t think any student had been in it for a long time when I started in 1968. The Tin Tabernacle – blast from the past!
The Hall is a great survivor given its age and wooden structure. There is reference in the Club Minutes to the Hall being treated for white ants in 1956. Perhaps they used DDT which, with a shelf life of 50 years, would account for its resilience, given it's still standing on wooden stumps 87 years later. Ms Evelyn Stanley, a descendent from one of the original families that started the Indoor Bowling Club, is now ‘anchor person’ for the club and has lived through its entire history. She very kindly agreed to show us around - the Hon Dr Bruce Eastick, David Purdie (Manager of Student Services) and myself.
The Hall interior is a step back in time, well preserved with accompanying memorabilia of honour rolls, tournament pennants, photos, framed certificates etc. If those walls could talk, a lot of local history would be recalled. Ref: Ref: The Roca Digest Autumn 2019 online
[Roseworthy Old Collegians Assn 1883]
This hall has recently become private property.
Fantastic book by Casey Reas, Chandler McWilliams, and the design/interactive shop LUST. Backdrop, Casey's Process Compendium 2004-2010.
Tuxtla Gutiérrez, Chiapas
20 de Abril de 2014
Bol.
Formará UNICACH profesionistas en Turismo Sustentable
Abierta convocatoria para tres programas en sede Palenque
Laura Matus
La sede Palenque de la Universidad de Ciencias y Artes de Chiapas (UNICACH)
oferta la nueva licenciatura en Turismo Sustentable, un programa educativo
que contribuirá a la formación de profesionistas competentes para el diseño
y administración de proyectos de turismo ecológico, alternativo y
sustentable.
Esta licenciatura, la de Comercialización y la ingeniería en Desarrollo
Sustentable integran la oferta educativa de la UNICACH en la sede Palenque,
cuya convocatoria de ingreso está abierta y disponible para su consulta en
el portal www.unicach.mx
La licenciatura en Turismo Sustentable fue diseñada con una duración de
ocho semestres, durante los cuales los estudiantes desarrollarán
habilidades directivas, para el diseño e instrumentación de planes,
programas y proyectos turísticos, la asesoría en la planificación,
elaboración de normas y políticas para la explotación y conservación de los
recursos turísticos actuales y potenciales.
Para lograr lo anterior se instruirá al alumnado en el aprendizaje de
idiomas extranjeros, adecuada comunicación oral y escrita, uso de
tecnología de la información y comunicación, bases administrativas y
conocimientos generales sobre el ramo turístico.
Este programa educativo es altamente pertinente para la región Selva y para
Chiapas, entidad que cuenta con una variedad enorme de posibilidades en el
sector turístico, por su riqueza cultural y natural.
De ahí que el plan de estudios de la licenciatura en Turismo Sustentable,
considera al turismo como una estrategia para la integración de la ecología
y la cultura con la economía, reorientación de la actividad de los centros
turísticos con el sentido de conservación mediante programas de manejo
apropiado de los recursos naturales para el desarrollo del ecoturismo y
turismo responsable.
El proceso de registro en línea se abre el próximo 28 de Abril, los
aspirantes deberán realizar este trámite mediante la página oficial de la
UNICACH, desde donde podrán obtener su pase al examen de conocimientos a
aplicarse el 1 de Julio.
La fecha de cierre de registro de aspirantes para las sedes regionales es
el 18 de Junio. Los jóvenes aceptados se incorporan a la sede Palenque de
la UNICACH el 6 de Agosto próximo.
--
Oficina de Prensa de la Universidad de Ciencias y Artes de Chiapas
Telefono 61 70 400 Ext. 4102
Agencia de noticias: agencia.unicach.mx/
Blog: blogspot.unicach.mx/
This photo is a front view of the carving, well, a bit to the side.
Birds are often used as symbols of freedom – there is an international human rights symbol which is a stylised bird. To earthbound humans, the ability to fly has led to the imagery of being ‘as free as a bird’. This piece tries to take the imagery a bit further by having a bird escaping from some form of captivity or restraint. It is also stylised.
This piece is the exception to the rule that I don’t do carvings on commission. Asked by the Irish Council for Civil Liberties to do a piece for a human rights award, it took a process of discussion and discernment to agree doing something. With a plaque added to the front (which is why there is no design on it there) it was presented to Liam Cunningham for a Lifetime Contribution Award in March 2020 concerning his work for human rights at home and abroad. See www.iccl.ie/awards/liam-cunningham-lifetime-contribution-...
The base is Lough Neagh basin bog oak; bog oak is generally black inside (there are some flecks of brown on this piece) because the iron in the water where it lies interacts with the tannins in the wood to turn it black. This is a block of bog oak cut from a larger piece. The bird is bog pine from Co Mayo and is actually the roots, and start of the trunk, of a pine sapling which never grew big. As to why it did not grow more, there are a number of possible answers including growing on stony ground with very poor nutrition, climate change, flood or wind causing it to be uprooted. Spaghnum moss can also kill trees by causing waterlogging.
The pine is 3,500 years old or more – pine basically died out in Ireland at this time. It is a ‘natural miracle’ that this small piece of pine survived, thanks to anaerobic conditions in a bog. The oak is also likely to be 3,000 – 5,000 years old. However without carbon dating it is impossible to be more exact on the age of the wood.
The bird has been left quite stylised; the wings and body were shaped a bit and the head significantly. One wing (originally root) is longer than the other and it has been left this way as a bit of artistic licence – it preserves more of the sapling’s shape. The colour of bog pine inside is like a modern pine only more pink, and it goes a darker golden brown when oiled, as here. Neither piece of wood has been coloured beyond being oiled and painted with a clear varnish.
The base was finished at the front to have a flat surface for the plaque. However I wanted to have some ornamentation on the base so I carved a triskele on the back but sufficiently small not to detract from the overall piece; the triskele is a symbol from Celtic and many others cultures. The gash at the front from where the bird is emerging has been enlarged from what was much smaller. I chiselled and drilled a hole in the oak to hold the pine bird in place. The highest point of the carving is about 34 cm, the base itself is about 20 cm high and 19 cm at its widest.
2,118.00 USD
3.25 carat Green opaque polished diamond, briliiant round shaped from Congo, beautifully formed Green diamond
Diamond weight: 3.25 carat per diamond.
Number of Stones: 1
Total Carat Weight: 3.25 carat
Size: approx. 8 mm.
Color: Green
Clarity: opaque
Shape: briliiant round
Country of Origin: Congo (Conflict free)
You will receive the exact diamonds shown in the photos.
This is a true photo of the raw diamond; the photo has not been retouched or modified in any way.
Since most people are so used to only seeing the polished diamonds in the market, some of you may be surprised that these stones are actually diamonds. But yes, raw diamonds actually come in a variety of different colors, shapes and sizes, and are a delight to the eye!
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Diamonds are the hardest substance in the world, created billions and billions of years ago. They represent love and romance, and were historically used for healing purposes.
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Looking for a different rough diamond that is not in the shop? Feel free to send me a message, and I'll do my best to find you a diamond that suits your needs.
Interested in buying wholesale? Ask about our Wholesale pricing.
For other rough diamonds in the shop please take a look here:
NewSKU: 20150183
Exposure: *40* seconds, f5.6
Date: 11 March, 2006
Location: Narragansett Electric & Fox Point Hurricane Barrier, Providence RI
Notes: Pentax SP1000 with Accura Diamatic 35mm f2.8 on Fujichrome Provia 400F Xprocessed
First time out with Burnblue's dad's Pentax on a night shoot... of course I had to try Xprocessing first =)
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It started with an email as a trip to SBI to pick up a ML-L3 remote for my D50. Then as weather forecasts were made we decided to make it a night - sort of last-minute, Threshold, Skazama, LaRizzoloca and I revisited a spot we have been a few times before.
The results of previous outings can be seen in set 001, set 007, and set 008.
You can see a group pool here of all our shots on Flickr from the night or a slick slideshow here. It may take a week or so for all the shots to be posted.
Forms of Resistance, a two-person exhibition featuring works on paper by Tim McFarlane and Washington, D.C.-based artist, Miguel Rodriguez. The show consists of 20 new works on paper by each artist, with all work produced in 2017.
Reception
Friday, May 5 at 6 - 9 PM
Exhibition Statement: When talking about the “why” behind this show, we made a list of some of the things which drew our interest. We spoke about survival, how it relates to cities, oppression, graffiti being put up, then erased, then put up again. Graffiti as protest art. How the traces of words and marks build up and form a sort of collective language over time. We touched on how that relates to evolutionary biology. How all organisms belong to the same tree of life and contain elements of each other, morphed into endless variety through long periods of adaptation and reproduction over time. How we are derived from microscopic meteor particles, our alien origins. How we dream of life beyond our planet, or wish that we would be rescued. Or how terms like “illegal” aliens take a whole group of people and make them the other. We found ourselves deep into the role of artists in societies, whose free speech and thinking goes against the grain of authoritarian ideologies, and how every mark we make, every painting we realize is a form of resistance.
Tim McFarlane and Miguel Rodriguez
Exhibition
May 5 - May 27
Gallery Hours
Saturdays 11 - 2 pm
ARTIST BIOS
Tim McFarlane is a painter based in Philadelphia, PA. McFarlane’s paintings and works on paper examine the fluid nature of memory, time and place, with an emphasis on color, multi-layered systems and process. A 1994 Temple University/Tyler School of Art graduate, McFarlane exhibited in various group exhibitions around the Philadelphia region before gaining representation with the Bridgette Mayer Gallery in 2002, where he has had several solo exhibitions.
Tim McFarlane has exhibited his work extensively in the U.S. in group exhibitions and featured at art fairs in New York, Miami, Dallas and San Francisco. He has been a visiting artist at several universities, participated in artist panels and has been a juror for exhibitions and grants. McFarlane’s paintings and works on paper reside in numerous private and public collections, including those of West Virginia University, Bucknell University, Temple University, the Hyatt Hotel at the Bellevue and more.
Miguel Rodriguez is a Washington D.C. based painter. He is a graduate of Tufts University/School of the Museum of Fine Arts, Boston, and has shown his work in Philadelphia, Trenton and Boston. He is part of the Earth Issue Artist's Collective, and was interviewed recently for Young Space, an online platform dedicated to emerging artists. His work is included in numerous private collections.
Images left to right:
Miguel Rodgriquez: Ange, 2017, acrylic and collage on paper, 15" x 11"
Tim McFarlane Uncharted (Blue Seas), 2017, acrylic on paper, 15" x 11"
Observar la relación entre la pantalla de pilotes ( aquí sólo se representa uno, pero esta previsto que se construyan en una longitud de 230 metros). Observar la cercanía física entre la pantalla de pilotes de 41 m de largo y 1,5m de diámetro (en rojo), y los cimientos de la Sagrada Familia (con el extremo de sus cimientos engrosado en rojo en forma de bulbo) En realidad estos cimientos de 16 m de longitud, tienen unos límites reales muy difíciles de precisar pues la técnica de construcción de pilotes no está tan avanzada como la de las tuneladoras. Y bien pudiera suceder que llegaran a tocarse con alguno de los pilotes de la pantalla "protectora" en el momento de la construcción. No hay más espacio para proceder de otra manera. Son problemas que se presentan al ir definiendo los detalles de los proyectos y que hay que re-estudiar atentamente.
Visita a las obras del Templo de la Sagrada Familia 2008.09.30
form: one year in temperature information visualisation/representation, lasercut.
width/height: the height is the temperature, and each row is one week in temperature.
based on one of the data-forms here: www.flickr.com/photos/miska_too/sets/72157624079587460/
period: the time period covered is from may 2009 -> may 2010. thus the dip in the middle is dear ol' winter.
min/max: -25°C -> +30°C
(yes, I know unit markers would have been useful...;)
material: acrylic
kind support for this project is from the Aalto Media Factory
Depeche Mode - Personal Jesus (The Stargate Mix)
Depeche Mode are an English electronic band that formed in 1980 in Basildon, Essex. The group consists of founders Dave Gahan (lead vocals, occasional songwriter since 2005), Martin Gore (guitar, keyboards, vocals, main songwriter since 1982), and Andy Fletcher (keyboards, bass guitar). Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Original band member Vince Clarke (keyboards, guitar, main songwriter from 1980 to 1981), left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over the lead songwriting duties and, later in 1982, Alan Wilder (keyboards, drums, bass guitar, occasional songwriter) officially joined the band to fill Clarke's spot, establishing a line up that would continue for the next 13 years. Depeche Mode have been a trio again since 1995, when Wilder left.
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Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
La Casa de las Cuatro Torres está situada en el corazón del Barrio de San Carlos de la ciudad de Cádiz (España). Es, en realidad, un conjunto armónico formado por cuatro casas. Juan Clat Fragela, comerciante sirio establecido en la ciudad, fue el promotor de este edificio, levantado entre 1736 y 1745. Consciente de la singularidad de su proyecto, Fragela renunció a parte del solar que poseía para dejar un espacio libre ante la construcción y lograr así una mejor visión del conjunto.
El edificio sigue el esquema característico de las casas de cargadores a Indias y conserva muchos rasgos significativos del barroco gaditano del siglo XVIII, circunstancia que llamó la atención de Eugene Delacroix durante su estancia en la ciudad, como testimonia el apunte que realizó de su fachada.
El diseño arquitectónico tiene la singularidad de ofrecer una torre en cada una de las cuatro esquinas. Estas torres forman, sin lugar a dudas, el conjunto más logrado y de mayor monumentalidad de todas las torres realizadas en Cádiz. Las cuatro casas se levantan a partir de una planta rectangular dividida en cuatro solares, con fachadas de idénticas características, de tal modo que, aunque se trate de cuatro casas independientes, se ofrecen como un conjunto unitario de cara al espectador. El conjunto es de gran sobriedad a excepción de la decoración a base de pilastras pareadas, con superposición de órdenes en cada uno de sus cuerpos, que se corresponden con el de las torres.
Sobre los ángulos se levantan cuatro esbeltas torres miradores. Tipológicamente, forman parte del grupo de torres de garita, al ser este último elemento el que sirve para dar salida a la escalera que sube a la terraza de la torre, además de ser observatorio, desde donde se ve el horizonte, ya que la escalera de caracol por donde se accede a la terraza se prolonga por el interior de la garita y termina en un sillín, donde el dueño, a través de unos pequeños óculos, introducía el telescopio.
Los motivos arquitectónico-decorativos que atan a las torres con las cornisas y las divisorias de las fincas son de gran belleza, con dibujos de lacería en almagra roja, que se repite en otro elemento de la construcción.
Cada una de las casas se organiza en torno a un patio, al que se abre una escalera por medio de una triple arcada sustentada por columnas de mármol.
La Casa de las Cuatro Torres está declarada Monumento, en virtud al Decreto 1004/1976 de 2 de abril.
The Banks Peninsula.
This stunning volcano formed peninsula was named by Captain Cook in 1770 believing that it was an island after he saw Lake Ellesmere which he thought was the sea. He named it after the botanist on his voyage – Joseph Banks. We know that the peninsula is made up of two volcanic cones with breached sides on the calderas - with one forming Lyttelton Harbour and the other Akaroa Harbour. The volcanoes were active 1.6 to 5 million years ago. The volcanic cones or calderas have steep indented sides producing dramatic coastal and cliff formations. The first settlement that we reach on Banks Peninsula is called Little River which is known for its grass seed industry. On top of the caldera we should have superb views of Akaroa harbour if it is clear.
Apart from Maori occupation Akaroa was first settled by two Frenchmen who created the village of Duvauchelle in 1840. A little further on is Akaroa. The harbour is known for its wildlife including the rare Hector Dolphins and many seabirds. Since the Polynesian invasion of NZ about 1,000 years ago three successive waves of Maori have occupied Akaroa Harbour – the Waitaha, the Kati Mamoe and finally from the 1600s to the arrival of white settlers the Ngai Tahu. In 1830 the Maori settlement on the south side of the harbour was the scene of a notorious incident with the British ship named Elizabeth. British Captain John Stewart helped the North Island chieftain Ngata Toa to capture the local chieftain Te Maiharanui which resulted in a battle and massacre. The British wanted to establish a whaling station at Akaroa but the Ngai Tahu would not agree to this. Partly as a result of this James Busby was sent to New Zealand to negotiate with the Maoris for British occupation which he did through the Treaty of Waitangi in 1840. In the meantime Akaroa was left alone until 1838 when French whaler Captain Langlois decided to use Akaroa for a whaling station. He “purchased” some Maori land through a dubious agreement with the Maoris. He returned to France, floated the Nanto-Bordelaise Company and returned to Akaroa with a group of French families with the intention of founding a French colony there. But by the time he arrived back in Akaroa the Treaty of Waitangi had been signed, including by the Akaroa chiefs and Britain had declared sovereignty over all of New Zealand’s three main islands. But the French stayed and settled anyway with villagers at Duvauchelle and Akaroa itself. New Zealand’s first Governor Hobson despatched a British ship the Britomart from the Bay of Islands to Akaroa to ensure British sovereignty was respected. The French laid out the streets of Akaroa with French names and they planted many walnut trees and bush roses. By the time the British arrived in Christchurch with the Canterbury Associated in 1850(based like SA on the ideas of Edward Gibbon Wakefield) Akaroa was already well established albeit with a French flavour. Look at the street names- Rue Lavaud, Rue Pompallier, Rue Jolie, Rue Balguerie, Rue Benoit, Rue Viard and Rue Grehan. The hill behind the town is L’Aube Hill (Sunrise Hill).
Historical walk in Akaroa with buildings numbered.
1. L’aube hill. Site of the pioneer French cemetery.
2. Trinity Church. A Presbyterian church opened here in 1860 by Mr Eteveneaux. Replaced 1886. Hall 1916.
3. Mrs Eteveneaux’s shop. No 42 Rue Lavaud.
4. No 43. A typical early colonial French style house.
5. Chez La Mer and the Madeira Hotel. Erected 1871 by Mr Rodrigues of the Madeira Islands.
6. Nos 45 and 47 were sites sold by the Nanto-Bordelaise Company in 1842 to a German settler, Jacob Waeckerle. House built 1877 with gallery added 1905.
7. Bon accord. Interesting house with two front doors. Used as Catholic school room and offices.
8. Chemist Shop. Henri Citron opened this pharmacy in 1883. During World War 2 a plane crashed into the shop.
9. No 60 was erected 1864 as a Town hall. Façade remodelled in 1993.
10. First Police Station built in 1864 and extended in 1904. Now a residence.
11. Akaroa Museum. The complex includes the Courthouse 1880, the Langlois-Eteveneaux house 1841.
12. The Old Criterion Hotel. Began as a shop in 1850s and became a hotel in 1860s.
13. The Customs House opened in 1853 closed 1880.
14. The old Post Office opened in 1914. Now the Information Centre.
15. Bank of New Zealand. A bank opened in 1863 but this one was built in 1905.
16. St Peters Church in Rue Balguerie. Built 1864 in English style. Graveyard contains grave of an early vicar who became the first Anglican Bishop of Dunedin.
17. Blythcliffe at no 37. Two storey house from 1857.
18. War Memorial which was unveiled in 1924.
Nozeroy est une cité médiévale dans le département du Jura, dans la région Bourgogne-Franche-Comté.
Le puissant et richissime seigneur Jean Ier de Chalon choisit un site de hauteur, défendable à proximité de la route du sel, qui de Salins à Jougne permet les échanges commerciaux et culturels entre le duché de Bourgogne et la Suisse et au-delà entre la Flandre et l'Italie. Jean de Chalon crée alors en 1262 au centre de son domaine jurassien, une forteresse d'où est conduite sa politique et sont administrés ses biens : le château de Nozeroy et sa ville fortifiée.
Unique Forms of Continuity in Space (1913)
Umberto Boccioni (1882-1916)
Bronze sculpture, cast 1972
Boccioni's work was in plaster, never cast into bronze in his lifetime. This cast was made in 1972.
In the early years of the twentieth century, industrialisation swept across Italy. The Futurist movement was founded by writers and artists such as Umberto Boccioni, who enthused about new inventions such as cars and electricity. In Unique Forms of Continuity in Space, the figure is aerodynamically deformed by speed. Boccioni exaggerated the body''s dynamism so that it embodied the urge towards progress. The sculpture may reflect ideas of the mechanised body that appeared in Futurist writings, as well as the ''superman'' envisaged by the philosopher Friedrich Nietzsche
[Tate website]
Apprezzo la cioccolata perchè
lei è l'unica che sostituisce la mancanza di ciò che è impossibile da sostituire.
Ugandan Formed Police Unit personnel serving under AMISOM, mount a parade during the farewell ceremony to mark the end of their tour of duty in Somalia on August 01, 2015. AMISOM Photo/Omar Abdisalan
Tenerife Bodypainting Festival 2018.
Gracias a la directora del evento @maike_make_up_tenerife
Y a través de @danielbaute.artista saludo a todo el equipo de
@tenerifebodypaintingfestival
Felicidades a toda la organización del 3er Festival de Bodypainting en Tenerife, realizado el 8 de septiembre en la Plaza del Adelantado de la Laguna.
Con invitados internacionales
@matteoarfanotti @reto_creativo
Felicidades a todos los participantes de las distintas modalidades, trabajo impecable.
Y agradecidos de que @carlosmdoca formará parte del jurado
#tenerife
#tenerifebodypaintingfestival
#bodypainting
#makeupartist
#maquillajecorporal
#islascanarias
#canaryislands