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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.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
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.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Star-forming galaxies as tools for cosmology in new-generation spectroscopic surveys
20 Mayo 2016
www.ift.uam-csic.es/en/events/star-forming-galaxies-tools...
It's the weekend.
Again.
And for a change, we have nothing planned, though plans would be formed through the day.
I laid in bed until half seven, then up for coffee and breakfast.
What to do with the day?
Well, book a tip run as Jools has been trying to rid the garden of the Rosy garlic, and the plan became, drop me off at Tesco to go shopping while she went to the tip.
I'll be frank: Tesco was mad. Not helped by the brainless blocking shelves and aisles either talking or checking their not so smart phones.
Time in store doubled as Tesco decided to hide the celery.
Put it with the salad?
Hell no.
Next to the peppers?
Too easy.
At the end of the aisle next to the strawberries.
Obvs.
Outside, Jools was waiting, so we loaded the car and drove home, where I see, whilst reversing, our verbascum has a good colony of Mullein moth caterpillars hungrily munching their way through leaves and stems.
Non.
Nom.
Nom.
After parking up, I grab the camera and go to take shots of the hungry fellas.
We have breakfast, or was it lunch? I lose track.
Soon, we had lunch of Scotch eggs and salad, I announced I was going to Park Gate Down to meet with Jon and Richard.
All other drivers are clearly shit, so I arrived at PGD in a bad mood, but once I saw the open meadow dotted with pink and red orchids, my mood softened.
Jon, Richard and their tour had not yet arrived, so I went to explore, going to snap a few Monkey spikes. In the paddock, I saw a couple clearly looking down, and as I walked towards the second paddock, they were clearly on a closing vector.
We met at the low gate, and they opened with their gambit: Are there Fly Orchids here, we've been looking in the undergrowth.
Now.
I might not know much, but I know something about orchids. Fly, I said, are spit into two sub-species here: woodland and downland, and the downland have grown to thrive in open meadows and downland paddocks.
However.
It has been a dry year, and I haven't seen any for two or three weeks. But, my young padowan, I will join your quest.
Or words to that effect.
I played down the chances, as we moved up the down, I saw no spikes other than the burnt spikes of EPO, the lone Lady, and emerging CSO and Chalk Fragrants.
But no Fly.
I waved in the direction of the furthest slope of the reserve, stating, that's where the most Fly can be found.
Seconds later I saw the first spike, and nearby two or three more.
Hours Huw and his friend had spent looking, and later, on social media he stated that I had saved his holiday.
That, I do not know.
I walked on to snap the Greater Butterfly, and on my way back I head Jon's voice as the tour parked up.
I searched for half an hour for Musk Orchids, but saw no sign, but then Jon and Richard were close, so I went to say "hello".
After greetings, I was asked if I wanted to see a Musk?
I did.
So, soon, Richard picked his way along the down, until the tiny spike of the orchid, and a smaller one next to it came into view.
So easy.
It had taken Jon two hours on Friday to find this, and me an hour earlier that day.
We took turns to snap them, and then someone else, Monika from a nearby village who had never seen a Fly. So, I called her over to see the Musk, then took her along to see a Fly or ten.
I am good.
Plans to meet up the Jon were scrapped as he was ill, and getting worse, so I made my way home.
But it was the very best of days.
And better than on Monday there was no work either.
Yay.
Back home we had Caprese and focaccia, both bought from Tesco, but both good.
There was time for some #Wildflowerhour-ing and have a wine or two as the sun sank behind the yardarm.
Cheers.
The New River is formed by the confluence of the South Fork New River and the North Fork New River in Ashe County, North Carolina. It then flows north into southwestern Virginia, passing near Galax, Virginia and through a gorge in the Iron Mountains. Continuing north, the river enters Pulaski County, Virginia, where it is impounded by Claytor Dam, creating Claytor Lake. North of the dam the New River accepts the Little River and passes the city of Radford, Virginia before passing through Walker Mountain via a narrow water gap. After flowing north through Giles County, Virginia and the town of Narrows, the river crosses into West Virginia.
The New River is impounded by Bluestone Dam, creating Bluestone Lake in Summers County, West Virginia. The Bluestone River tributary joins the New River in Bluestone Lake. Just below the dam the Greenbrier River joins the New River, which continues its northward course into the New River Gorge. Near the end of the gorge the river flows by the town of Fayetteville, West Virginia. A few miles northwest of Fayetteville the New River merges with the Gauley River, forming the Kanawha River. The Kanawha is a tributary of the Ohio River, which in turn is a tributary of the Mississippi River.
Forma parte del jurado oficial de la 58 edición del Festival de Cine internacional de Valladolid (SEMINCI).
Standing like unstrung lutes in a temple like gallery these forms could be instruments waiting to be strung and played to bring the gods into contact with the worshippers. Strings will never be set into these forms and yet they and tuned and played. The setting arranged by the artist and the scene made in the gallery create the tension on the strings. The viewers play the notes and follow the ephemeral chords to reach their own divine imaginings.
At the time of taking these pictures The Hepworth Wakefield was just over a year old. It houses a superb collection of works by Barbara Hepworth and features displays from other artists. Designed by David Chipperfield Architects with 10 galleries this is definitely a place to make a visit to.
The Hepworth Wakefield
Gallery Walk, Wakefield, West Yorkshire, WF1 5AW
T: +44 (0)1924 247360
Printmaking Project
Initially this project was to create a concept of the elevation for the Museum of Technology.
The topic for the series of those prints was „Mechanical Forms”. I wanted to make the series of prints which would produce one consistent pattern that would be sequential. I drew two different combinations of the set of the cogs on the linoleum and engraved it very deeply. I printed the actual linocut in black using the printing press. After experiencing it I wanted to make it look more interesting, that is why I developed the idea further and made another linocut to obtain even deeper printing matrix. I wanted to use it as a block printing form made of an elastic silicone rubber. I poured the silicon over the matrix and waited till it hardens. When it was solid I rolled the gold and white oil based ink over the silicon “stamps” and printed it by hand onto the black paper. I had to be very careful, because I did print it with a different stamp every time so, that it would be duplicated without a noticeable gap. The effect was quite stoning and very textile like. The mechanical character of the composition was strengthen by multiplying of the forms. I have also noticed that I have reached proper limit of the scale of a singular printing element versus the total size of a print and that further multiplying of the stamp would diminish the power of the image. I am planning to explore this technique in the future.
FORM V by Mark Andrew Webber. The fifth in a 5-part series of works published by The Future Tense.
Email info@thefuturetense.net for more details.
Best viewed as a set here: www.flickr.com/photos/thefuturetense/sets/72157636580595424/
a bunch of clips put together to form this... make sure to watch in large :) oh and once again im sorry for the black mark across the screen, like i said before my cameras kinda gone wierd..
nature does it all. Some people might see nothing in things like this, but to me it is one of those things that happens everyday in our life and we take for granted. I feel we are linked to nature and nature to us in every way. And I know, some people don't care about this kind of subject. I do.
Taken with my Rolleiflex 2.8F
Eine einfache geometrische Form zieht sich wie ein roter Faden durch die Arbeiten von Dmitry Teselkin. Das von ihm „Constructor“ genannte Grundmodul besteht aus einem Rechteck, bei dem in der Mitte jeder Kante rechtwinklig ein Einschnitt oder eine Einfräsung vorgenommen wurde. Er bedient sich dabei einer Vielzahl von Materialien wie Karton, Plexiglas, Stahl, Stein und Beton. Entsprechend unterschiedlich sind auch die technischen Ausführungen von Scherenschnitt bis Laser-Cut.
Nachdem er dieses Baukastensystem vor elf Jahren entwickelt hatte, erarbeitet der seit einem Jahr in Frankfurt lebende russische Künstler Wandobjekte und raumbezogene Installationen, die sich auf Prinzipien des Minimalismus, des Industriedesigns und des Kinderspiels beziehen.
Teselkins Werk basiert auf seiner Erkenntnis, Kunst wie ein Spiel zu verstehen: „Ich bin davon überzeugt, dass das Schaffen einer kreativen Person immer dann am stärksten ist, wenn die Person spielt. Egal ob es um Ideen, Formen oder physikalische Gesetze geht. Ich verstehe Kunst als ein Spiel, mit dem ich sowohl die Kunstwelt als auch die Welt grundsätzlich entdecke.“
Neben der spielerischen Herangehensweise entwickelte sich Constructor in Teselkins letzter Interpretation zu einer kritischen, aggressiveren Version. Kunst als Waffe, Kunstobjekte als Waffen der Künstler mit dem Ziel, die Welt zu erobern. Denn genau wie eine kostbare Waffe wird auch Kunst ausgestellt und sorgfältig um die Welt transportiert. In diesem Zusammenhang versteht sich Constructor auch als eine Waffe Teselkins. kvfm.de/dmitry-teselkin-neurotisches-spiel/
Yorkshire Sculpture Park
An open-air gallery showing works by British and international artists, including Henry Moore and Barbara Hepworth. The park's collection of works by Moore is one of the largest open-air displays of his bronzes in Europe.
The sculpture park occupies the parkland of Bretton Hall and straddles the border of West Yorkshire and South Yorkshire.
Opened in 1977 it was the UK's first sculpture park.
en.wikipedia.org/wiki/Yorkshire_Sculpture_Park
Reclining Connected Forms
by Henry Moore
Here undulating organic forms evoke a recumbent human figure, a mother embracing a child, or perhaps an infant in the womb.
Formarsi significa costruire il proprio modo di essere: congratulazioni agli studenti dei Master Luiss Business School ed. 2018/19!
Diesel locomotive Mk45 2005 is seen at Huvosvolgy running on to the coach to form a service to Széchenyihegy.
Budapest Childrens Railway
4 February 2017
The Metropolitan Cathedral, Iași, located at no 16 on Boulevard "Ștefan cel Mare și Sfânt" is the seat of the Romanian Orthodox Archbishop of Iaşi and Metropolitan of Moldavia and Bukovina, and the largest Orthodox church in Romania.
It is dedicated to Saint Paraschiva, to the Presentation of Jesus and to Saint George.
Its form was inspired by the late Italian Renaissance style, with Baroque elements dominating the interior and exterior decorative features.
The Metropolitan Cathedral is listed in the National Register of Historic Monuments.
Two churches previously stood on the site: the White Church and the Presentation Church.
On 8 August 1826, prince Ioan Sturdza signed a decree ordering construction of the cathedral;
Two churches previously stood on the site: the White Church (15th century) and the Presentation Church (17th century).
On 8 August 1826, prince Ioan Sturdza signed a decree ordering construction of the cathedral;
Metropolitan Veniamin Costache laid the cornerstone on 3 July 1833 and guided construction in its early years.
Work began in 1833, using a neo-classical design by Viennese architects Gustav Freywald and Bucher, and continued at a rapid pace until 1841, in the latter years under the Russian architect Mihail Singurov.
In 1839, after it was completely built and covered, serious cracks had appeared on the large central arch.
At the urging of Metropolitan Iosif Naniescu (1875-1902), the newly independent Romanian state decided to start the restoration work of the cathedral.
A new cornerstone was laid on 15 April 1880.
Architect Alexandru Orăscu, rector of the University of Bucharest, designed new plans that added two rows of massive pilasters to the interior, creating a rectangular basilica shape, with a central nave and two smaller side naves.
The four detached side spires were kept, but the large central dome was eliminated and replaced with a system of four semicircular sections, separated by transverse arches.
The cathedral was consecrated on 23 April 1887, in the presence of King Carol I and Queen Elisabeth, who had donated large sums for the project.
In 1889, the relics of Saint Parascheva, patron saint of Moldavia, were brought from Trei Ierarhi Monastery and continue to attract crowds of pilgrims, particularly in the weeks around her feast day (October 14).
These are located on the right side of the vestibule, as are those of Veniamin Costache.
Standing in the centre of the Metropolitan Complex, the Great Cathedral is a monumental building of a rectangular plan with four detached towers at its corners that originally flanked an immense dome.
The cathedral is 56.70 metres long and 34.15 metres wide, and with a height of the towers of 52.92 metres, it is one of the tallest historical buildings in Moldavia.
The exterior of the Cathedral, as well as the interior, is decorated in the Baroque style.
The eastern façade has a central motif formed of six Corinthian columns erected on a stone socle, which support the architrave, above which is a high bas-relief of the Presentation of the Lord.
The western façade has eight columns separated by the entrance, above which there is a recessed balcony whose vault has a curved mosaic also showing the Presentation; above that is a stone carving of Saint George.
The roof is decorated with zinc fleurons and stylized crosses adorn both the roof and the four spires.
Gheorghe Tattarescu painted the icons and decorative elements in a style that respected Orthodox norms but also showed a Renaissance influence.
The four Biblical scenes above the central nave, the saints' faces and the decorative compositions all show an Italian neo-classical rigor, to which the artist had been exposed during his studies at Rome's Accademia di San Luca.
This creates harmony between the painting and the architectural style.
The stained glass was worked in Munich and redone after World War II, under Metropolitan Justinian Marina.
Two valuable icons painted in the 16th century are kept inside; they depict Christ Pantocrator and the Madonna and Child.
Larger scale of my goddess form pendant in copper with rutilated quartz, honey stone, and the center is lepidalite.
This composite image, combining data from NASA's Chandra X-ray Observatory and Spitzer Space Telescope shows the star-forming cloud Cepheus B, located in our Milky Way galaxy about 2,400 light years from Earth. A molecular cloud is a region containing cool interstellar gas and dust left over from the formation of the galaxy and mostly
contains molecular hydrogen. The Spitzer data, in red, green and blue shows the molecular cloud (in the bottom part of the image) plus young stars in and around Cepheus B, and the Chandra data in violet shows the young stars in the field.
The Chandra observations allowed the astronomers to pick out young stars within and near Cepheus B, identified by their strong X-ray emission. The Spitzer data showed whether the young stars have a so-called "protoplanetary" disk around them. Such disks only exist in very young systems where planets are still forming, so their presence is an
indication of the age of a star system.
These data provide an excellent opportunity to test a model for how stars form. The new study suggests that star formation in Cepheus B is mainly triggered by radiation from one bright, massive star (HD 217086) outside the molecular cloud. According to the particular model of triggered star formation that was tested -- called the radiation-
driven implosion model -- radiation from this massive star drives a compression wave into the cloud triggering star formation in the interior, while evaporating the cloud's outer layers.
Different types of triggered star formation have been observed in other environments. For example, the formation of our solar system was thought to have been triggered by a supernova explosion. In the star-forming region W5, a "collect-and-collapse" mechanism is thought to apply, where shock fronts generated by massive stars sweep up material
as they progress outwards. Eventually the accumulated gas becomes dense enough to collapse and form hundreds of stars. The radiation-driven implosion model mechanism is also thought to be responsible for the formation of dozens of stars in W5. The main cause of star formation that does not involve triggering is where a cloud of gas cools, gravity gets the upper hand, and the cloud falls in on itself.
Henry Moore - Form and Material - Museum Beelden aan Zee - The Hague
In collaboration with the Henry Moore Foundation, Museum Beelden aan Zee has made a selection of works from the artist's substantial oeuvre. Around 70 objects and sculptures portray the artistic vision and creative process of one of the most important innovators of modern sculpture. The exhibition in Beelden aan Zee focuses on the influence of nature on his work and his growth and development as a sculptor. From promoting direct carving – carving without using preparatory sketches and studies – to experimenting with casting in lead and bronze. Henry Moore (1898-1986) is one of the most important British artists of the twentieth century. His sculptures balance on the boundary between figurative and abstract art and continue to be a source of inspiration to artists. His work has a recognisable and characteristic formal language. Important themes in his oeuvre are ‘mother and child’ and his reclining figures, which he explored extensively.
From the 1920s, Moore participated in countless British and international exhibitions, with solo as well as group exhibitions, he sold work on a regular basis, and so made a name for himself as an important modernist sculptor. However, the Second World War called a halt to these positive developments. Henry Moore left his teaching post and took up a commission as a war artist. It was in this capacity that he produced his deeply moving Shelter Drawings of Londoners crowding the city's underground stations sheltering from the Blitz. In the 1950s he created larger groups of figures. The prices for his works increased considerably and his fame as an international artist continued to grow. In later years he served as a trustee at both the Tate Gallery and the National Gallery and he was the recipient of a large number of prizes and honours.
These most recent pics were to show form in photography. We had to hand in a contact sheet with 20-24 photos and print an 8x10 of the one shot we thought was best.
I didn't put all 20 up here because...well...some were just filling space. The Ho-Jo's building I printed as the 8x10
© All Rights Reserved - Black Diamond Images
Family : Lauraceae
This plant was given to me as a seedling with the name attributed to it reported from a label as Endiandra microneura sp. affin 'Mt Pelion' .
This name appears to be a confusing association and may be incorrect as the points made in some of the comments below suggest.
NOTE - I originally posted the species on the left as an unidentified laurel but have now named it following the recommendation of Cryptocarya bidwilli by Kris Kupsch and his observation that C. bidwillii could well have two forms - (perhaps a northern and southern form).
I have however followed Plant.Nerds recommendation and labelled the former unidentified laurel as Cryptocarya sp.affin bidwillii.
Thanks also to Dave King who also was involved in obtaining this ID.
IDENTIFYING AUSTRALIAN RAINFOREST PLANTS,TREES & FUNGI - Flick Group --> DATABASE INDEX
158853 formed of 52853 and 57853 is seen at Doncaster in unbranded Central Trains livery. This had passed to Northern by this time.
17735 Kieselsteinring geschwungene Form, im Verlauf geschliffen, mattiert, Innendurchmesser 19.2mm, Edelsteinschleiferei Hochstrasser 20.8g