Liberty Park , call for participation for collaborative creation. You can propose 3D new creations, modify some créations, provide knowledge, thoughts...

 

Liberty Park will be an amusement park that will trace the history of neoliberalism, theorists, those who have developed and implemented around the world, implications in all areas (production, health, general surveillance, consumption, etc. ...).

The reference is the Garden of Delights by Hieronymus Bosch. "Take the ghost train"

, grotesque but meaningful because it will not only condemn but to understand that we as willing victims.

 

2 first propositions :

- www.flickr.com/photos/39000262@N05/7845280712/in/photostr...

- www.flickr.com/photos/39000262@N05/7887357452/in/photostream

  

Contact me

 

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Appel à participation pour une création collaborative.

Liberty Park sera un parc d’attraction qui retracera l’histoire du néolibéralisme, ses théoriciens, ceux qui l’ont développé et appliqué de par le monde, ses implications dans tous les domaines (production, santé, surveillance généralisée, consommation, etc…).

La référence est le jardin des délices de Jérôme Bosch. « Prenez le train fantôme »

un parc d’attraction , à la fois grotesque mais aussi porteur de sens parce qu’il ne s’agira pas seulement de dénoncer mais aussi de comprendre que nous en sommes aussi les victimes consentantes.

 

les 2 premières propositions :

- www.flickr.com/photos/39000262@N05/7845280712/in/photostr...

- www.flickr.com/photos/39000262@N05/7887357452/in/photostream

 

contactez moi

The EAF-Nansen Programme fielded a mission to Cote d’Ivoire, Togo and Benin in November 2018 as part of the Programme’s support for the implementation of management plans for beach seine fisheries in the Gulf of Guinea. The team for the mission was made up of Dr Kwame Koranteng, who was the Coordinator of the EAF-Nansen Project until 2017, and Mr Matthieu Bernardon, an independent consultant. The objectives of the mission were:

1.To assess the status of implementation of the beach seine management plan in each country,

2.To understand recent developments in the fisheries sector since 2013 when the plans were completed and approved for implementation and the need for possible updates,

3.To identify other projects and initiatives in place that could be in synergy with or in support of the implementation of the beach seine fisheries management plan, and

4.To prioritize activities from the plan that could be supported by the EAF-Nansen Programme, and to assess the needs for the same.

In each country, the team had initial discussions with the Director of Fisheries, the Focal Point of the Programme and relevant staff of the FAO Representation. A national workshop was then held which was attended by stakeholders (fishers, fisheries managers and researchers, security personnel and environmental protection/management officers, among others). At the workshop, the group reviewed the activities included in the management plan, identified priority actions and agreed on implementation modalities including the role of a national implementation or steering committees. In Cote d’Ivoire, the team also visited a community of beach seine operators in Jacqueville, a coastal town 40 km west of Abidjan.

At Jacqueville, some of the problems that the beach seine fishery is facing, particularly poor catches were evident. The dependence of a large sector of the fishing community on the beach fishery was also obvious as so many women and children were at the beach waiting for the catch from the only unit that operated that day. Interestingly, many of the women were able to take home small portions of the rather poor catch. One of the issues identified in the management plans is the clogging of nets by marine litter and sargasum weeds during fishing operations. On the day of the visit the entire beach was full of the weed which had been washed ashore over days and the bag of the beach seine net was also full of weeds together with the catch.

The mission noted that in all three countries key actions have been taken towards implementation of the management plan. In Togo, the government has provided funds to procure netting materials of the appropriate mesh size to replace the existing bags of the beach seine nets as recommended in the management plan. In Cote d’Ivoire and Benin, new laws have come into force that give legal backing to the implementation of the management plan. Discussions are ongoing in Benin that could lead to a complete ban of the beach seine fishery in the country.

It would be recalled that between 2009 and 2013, the then EAF-Nansen Project provided technical and financial support to a number of partner countries in Africa to develop management plans for selected fisheries using the ecosystem approach to fisheries (EAF) framework. In each country, a multi-stakeholder National Task Group was set up and facilitated by the EAF-Nansen Project to lead the preparation of the management plan. The plans for Cote d’Ivoire, Togo and Benin were among those that were finalised and approved for implementation by the Minister responsible for fisheries in each country. The NTGs of the three countries, as well as Ghana, collaborated in the preparation of the management plans to ensure that the recommended actions and management measures were similar in the region since the fishery is the same. In this phase of the Nansen Programme, support is being provided for the implementation of the plans through the establishment and operationalization of a fisheries management cycle (FMC) in each country.

   

The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.

 

GODDESS KALI

Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.

 

ETYMOLOGY

Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli".

 

Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.

 

Kāli's association with darkness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.

 

ORIGINS

Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.

 

According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.

 

WORSHIP AND MANTRA

Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is

 

Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥

 

ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥

 

(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.

 

Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stu‍tē.)

 

YANTRA

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:At the dissolution of things, it is Kāla [Time]. Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art. The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.

 

BENGALI TRADITION

Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.

 

The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:

 

Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]

Were she not merciless, would she kick the breast of her lord?

Men call you merciful, but there is no trace of mercy in you, Mother.

You have cut off the heads of the children of others, and these you wear as a garland around your neck.

It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.

 

To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.

 

A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.

 

In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.

 

In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).

 

LEGENDS

SLAYER AND RAKTABIJA

In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:

 

Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.

 

Kali consumes Raktabija and his duplicates, and dances on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.

  

DAKSHINA KALI

In her most famous pose as Daksinakali, popular legends say that Kali, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.

 

The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist, and Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot

 

on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.

 

If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.

 

One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes pacified.

 

SMASHAN KALI

If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.

 

MATERNAL KALI

At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.

 

MAHAKALI

Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.

 

Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.

 

ICONOGRAPHY

Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.

 

In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.

 

The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.

 

In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj", when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"

 

According to Ramakrishna, darkness is the Ultimate Mother, or Kali:

 

My Mother is the principle of consciousness. She is Akhanda Satchidananda;

indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black.

The waters of the ocean depths are the same; The infinite is always mysteriously dark.

This inebriating darkness is my beloved Kali.

—Sri Ramakrishna

This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.

 

POPULAR FORM

Classic depictions of Kali share several features, as follows:

 

Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head, and a bowl or skull-cup (kapala) catching the blood of the severed head.

 

Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.

 

She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all mantras.

 

She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.

 

Kali as the Symbol of Creation , Freedom , Preservation and Destruction

 

The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.

Kali as the Symbol of Mother Nature

 

The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.

 

SHIVA IN KALI ICONOGRAPHY

In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:

 

Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.

 

The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:

 

Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.

 

This idea has been explored in the Devi-Bhagavata Purana [28] and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.

 

The Tantric interpretation of Kali standing on top of her husband is as follows:

 

The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.

 

While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.

 

To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.

 

From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.

 

Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.

 

Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.

 

DEVELOPMENT

In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.

 

The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.

 

Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.

 

Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.

 

Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.

 

A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.

 

Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.

 

KALI IN NEOPAGAN AND NEW AGE PRACTICE

An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."[60] The adoption of Kali by the West has raised accusations of cultural appropriation:

 

A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.

 

INCARNATIONS OF KALI

Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.

 

WIKIPEDIA

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A rural farm under a cloudy moonlit sky near McBaine in Boone County Missouri by Notley Hawkins Photography. Taken on a cool August summer's evening with a Canon EOS 5D Mark III camera with a EF16-35mm f/2.8L USM lens. Colored gels were used with an exposure of 90 seconds.

  

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©Notley Hawkins

Iron garden implements throne at About Thyme

Writing implement.

 

Wivenhoe Historical House built 1838, Narellan, New South Wales, Australia.

Implemento do iveco vai sendo a 2 eixo pozz, bora leva ali no gaguinho pra coloca a bixa na altura padrão!

Valle del Cauca implementa programa de rehabilitación integral para personas en condición de discapacidad visual. Foto: Deywis Ayure Casas

I first started building this implement on Stud.io, then I moved on to building one in real life. (So far, this is a WIP. I'll buy the parts from the Marion LEGO Store soon)

 

Video Link: youtu.be/GD_q5061ZBs

 

Stud.io File: brickshelf.com/gallery/TheScooterGuy/Stud-io/Tedder/hay_t...

WASHINGTON - On Wednesday, June 6, U.S. Transportation Secretary Ray LaHood (Inside Left), U.S. Customs and Border Protection (CBP) Acting Deputy Commissioner Kevin McAleenan (Speaker), Delta Chief Executive Officer Richard Anderson (Right) and JetBlue Airways Senior Vice President for Government Affairs and Associate General Counsel Robert Land (Far Left) announced the implementation of new partnerships to combat human trafficking as part of the Department of Homeland Security’s Blue Campaign, CBP and the Department of Transportation. Photo by James Tourtellotte

I'm open to suggestions to anyone who can give me a clue what this is. See it on the concrete slab in the other photos. I've seen it sitting there for about 20 years now.

7 June 2017 - Signing Ceremony for Multilateral Convention to Implement Tax Treaty Related Measures to Prevent BEPS; 67 countries and jurisdictions signed at the OECD. Paris, France.

 

Photo:OECD

Expert Group Meeting on Strategies to Achieve Gender Equality and Empower all Women and Girls through the Gender-responsive Implementation of the 2030 Agenda for Sustainable Development held at UN Headquarters on 30 May 2017.

 

Presenters included: E. Courtenay Rattray, Permanent Representative of Jamaica to the United Nations; Jan Kickert, Permanent Representative of Austria to the United Nations; Lakshmi Puri, Assistant Secretary-General and Deputy Executive Director of UN Women; Juwang Zhu, Director, Division for Sustainable Development, UN DESA;

 

Photo: UN Women/Ryan Brown

Photos courtesy of Missouri City

From Parks' projects to public safety initiatives, the "Show Me City" has implemented many successful citizen programs in 2011. At left, the Edible Arbor Trail is a site for nature lovers to see and at right, thousands of residents participated in this year's National Night Out.

 

"Show Me City" Continues Strong Growth and Progress

 

Missouri City has achieved significant successes in 2011 by continuing strong collaborations with citizens, gaining new business partnerships, earning local, state and national distinction for excellence and battling against record breaking drought conditions that brought many challenges to our parks. City Council's continued policy direction has allowed the momentum begun in 2010 to continue.

 

Building on Missouri City's national recognition as one of America's best places to live, according to Money magazine, and one of the country's safest communities, 5th safest in Texas, the "Show Me" City continues to garner awards. Missouri City has earned further honors for its excellent fiscal practices and policies. The prestigious gold Leadership Circle Award from the Texas State Comptroller's Office salutes the City's transparency in financial, audit and budget reporting to residents. This expansive information is available on the City's website homepage under Hot Topics.

 

And for more than 20 years the City Budget and the Comprehensive Annual Financial Report continue to be recognized annually by the Government Finance Officers Association of the United States and Canada for their detail on City services and programs and the City's financial condition.

 

A strong community connection is vital to the area's dynamic growth. Citizens played a major role in the decision to purchase the Quail Valley golf property in 2008. And more recently they weighed in on what they wanted for the new Community Center and Golf Pro Shop under construction there. This facility will offer another option for Fort Bend County residents and businesses to host their special occasions. The second floor ballroom will seat 300 and overlook the 18th holes of both the El Dorado and La Quinta golf courses. There also will be smaller rooms available for use. A restaurant will be fully staffed but plans are to have a select list of catering companies for individuals and groups planning large events.

 

In the past 12 months, the two courses have logged almost 54,000 rounds of golf, and close to 100 golf tournaments. We thank all of our residents for their support as well as the many others who have enjoyed the two 18-hole courses here. Citizens also shared their opinion on activities they wanted at the new the Tennis and Recreation Center currently being built on Cypress Point Drive. Residents will be pleased with the recreational amenities that will be offered. The new City facilities are scheduled to open in the spring 2012.

 

On the business front, the City continues to expand its commercial square footage to not only diversify the property tax base but to provide jobs for our citizens.

 

The Lakeview Business Park and the Beltway Crossing Complex, both off the Sam Houston Tollway, are attractive locations for nationally- and internationally-respected companies. Coupled with business growth elsewhere in the City, 800 new jobs were created in the past four years and new companies coming to Missouri City will add almost 1,000 more positions when they are fully staffed.

 

In the past 6 years, our commercial tax base has grown from 15 percent to 24 percent. Contributing to that expansion is Global Geophysical Services on South Gessner Road-the international firm recently celebrated a milestone when company officials rang the opening bell at the New York Stock Exchange in New York City. Another major contributor is Ben E. Keith, one of the largest food purveyors in the nation. Their half-million-square-foot distribution facility currently is under construction on its 82-acre site, with the future opportunity to expand to more than 1 million square feet. Warren Alloy will also move to Lakeview Business Park, joining a respected list of companies already based in the center. State Highway 6 continues to be a popular destination for many shoppers who now can enjoy a new type of movie experience with the Star Cinema Grill. The City's first hotel, La Quinta Inns & Suites is set to open in early 2012.

 

The planned expansion of the Fort Bend Toll Road across the city's eastern boundary to Sienna Plantation should encourage further commercial development. Missouri City has leveraged its capital project dollars through partnerships with other government entities, resulting in improved safety and mobility for motorists:

 

*The revitalization of two gateways-South Gessner Road and Texas Parkway-increases motorist and pedestrian safety and encourages continued development. South Gessner from Beltway 8 to Cravens Road was fully replaced, mosaic-tiled City monuments were strategically placed along the roadway and sidewalks were added. Upgrades to Texas Parkway feature a prominent City monument at the intersection of US90A, drainage improvements and the addition of sidewalks. Phase Two on this thoroughfare will add landscape and signage.

 

*Construction of raised medians on Highway 6 caused initial resident concern but feedback now is that they are pleased with the added safety factor. In addition, six new Dynamic Message Signs along Highway 6 alert motorists to important traffic information and emergency messages.

 

*The largest project the City has ever undertaken will be operational early in 2012. The surface water treatment plant project, a partnership among 40 government and private sector groups, who are paying for the facility through user fees, will initially serve Sienna Plantation outside of the city limits of Missouri City. The project meets a mandate for water users to move from ground to surface water incrementally over the next 15 years.

 

Aerial view of the new Surface Water Treatment Plant

 

Missouri City reaches out to meet the needs of residents through a strong homeowner's association liaison program.

 

The Show Me City also uses a variety of communications tools to keep the community informed, anchored by the website, www.missouricitytx.gov, Missouri City television, the quarterly citizen newsletter, news releases and the new radio station, 1690 AM.

 

Key to residents is the City's ongoing proactive community-based public safety programs. National Night Out each fall allows residents to meet their neighbors, discuss crime prevention measures and talk with their City Council members, the officers who patrol and the firefighters who also protect their neighborhoods. We can credit our low crime rate to police working so closely with citizens to prevent crime. In the past year, the Police Department also won a competitive federal grant for $893,000 that funded four new positions during fiscal year 2011.

 

In other proactive steps to curb crime in Missouri City, the Police Department is utilizing the newly-formed Burglary and Auto Theft or "BAT" Team that focuses on those crimes.

 

Since the formation of the BAT Team, auto thefts have decreased 20 percent over the previous year, and auto break-ins have declined 20 percent, with 11 stolen vehicles recovered, 10 auto theft suspects arrested and more than $113,000 in stolen property recovered.

 

Residents are pleased with the Route 170 direct transit service to The Medical Center, with connections to METRO's transit system network downtown. In a service survey, 98 percent of riders said they were satisfied with service.

 

The year also saw the start of METRO Park & Ride bus service for area residents with 98 percent of riders satisfied with the commuting option. Residents are overwhelmingly supportive of the rides that give them access to jobs in the Medical Center and Houston downtown transit points. Plans are under way for the permanent Park and Ride site to be located behind the Fort Bend Town Center located on Highway 6 at the Fort Bend Toll Road.

 

After years of planning and preparation, the City officially celebrated the grand opening of the Edible Arbor Trail, the first of its kind in the region. Visitors to the trail, just west of Murphy Road, can sample treats created by Mother Nature including Mexican Persimmon, pomegranates and kumquats.

 

The second phase of Oyster Creek Trail, which will be completed soon, offers a bike/pedestrian trail along Oyster Creek Bayou between Dulles Avenue and Cartwright Road that will allow residents to travel on foot or on bicycle from Mosley Park on Murphy Road to Oyster Creek Park in Sugar Land.

 

Another major milestone for citizens was the grand opening of an historic landmark - the Dew House and DeWalt Heritage Center in Fort Bend County's Kitty Hollow Park on Highway 6 South. The treasured house ended the year with an old-fashioned Holiday Wassail Program in December.

 

And Missouri City celebrated the year's end with the annual Snowfest Festival and the Snowfest Parade. Main attractions were the lighting of a 26-foot tree, the popular Snow Hill, fireworks and a special appearance from Santa.

 

In 2012, citizens are welcoming a new City Manager, Edward Broussard. He has been city manager since 2005 for Hutto in the Austin area and brings 16 years' experience in Texas municipal government. Former City Manager Frank Simpson accepted a position in College Station in May.

 

Also in the New Year, the economy will continue to control the pace of growth. Missouri City's physical location in the Houston area coupled with a developer-friendly environment and its growing reputation as a great place to live, should offer continued opportunities for the "Show Me City".

Staff and physicians at Nanaimo Regional General Hospital and Dufferin Place celebrated the official launch of the countdown to the implementation of IHealth, a new electronic system that will be up and running at NRGH and Dufferin Place by summer 2015.

 

The new IHealth electronic tool will track patient health information in a single health record across Island Health facilities, programs and services throughout a patient’s entire life. NRGH and Dufferin Place residential care facility will be the first Island Health locations to receive IHealth.

 

Designer: Zhu Xiaoying (朱晓莹)

2003

Firmly implement and carry out the spirit of the "Three-on-the-spot" decision of the Central Committee of the CCP concerning workers coming from elsewhere

Jianjue guanche luoshi Zhongyang guanyu wailai min'gong "san jiu di" zhishi jingshen (坚决贯彻落实中央关于外来民工“三就地”指示精神)

Call nr.: BG E15/814 (Landsberger collection)

 

More? See: chineseposters.net

WASHINGTON - On Wednesday, June 6, U.S. Transportation Secretary Ray LaHood (L), U.S. Customs and Border Protection (CBP) Acting Deputy Commissioner Kevin McAleenan (C), Delta Chief Executive Officer Richard Anderson (R) and JetBlue Airways Senior Vice President for Government Affairs and Associate General Counsel Robert Land announced the implementation of new partnerships to combat human trafficking as part of the Department of Homeland Security’s Blue Campaign, CBP and the Department of Transportation. Photo by James Tourtellotte

Project Title: Distribution of Solar Lanterns for Village Village Abdul Hakeem Shah, THATTA.

Date Completed: Feb/ 02/2021

Donor: Lodhie Foundation

Implementing Partner: Mr. Ammer Shah In Loving Memory Of Janat BiBi Shah.

Project Manager/Coordinator: Abdul Samad

Project Locations

The Lodhie Foundation initiative brings a “First Ray of Light” to the rural and poor communities and backward areas of Pakistan. Since 2003, this philanthropic initiative has continued to achieve his goal to bring the poorest people of Pakistan opportunities for socio-economic development. The program has been building momentum and successful results since its beginning. The key element is the distribution and maintenance of solar LED lighting systems through the guidance and management of Pervaiz Lodhie Founder Trustee of Lodhie Foundation located in Karachi, Pakistan

Ever since introducing a noble cause of distribution of SOLAR LANTERN ( ROSHNI ) to the needy and poor villagers and families of rural areas in Pakistan under the Donation of Mr. Ammer Shah In loving Memory of Janat BiBi Shah (Mother of Ammer Shah), a team Lodhie Foundation was assigned to visit the Village of Thatta Region to observe and witness the distribution of Solar Lantern ROSHNI to the most needy Village of Village Abdul Hakeem Shah, located near Keenjhar Lake, District Thatta #Sindhof district badin Sindh Region .

As a gesture of goodwill Mr. Ammer Shah Donor of Lodhie Foundation offered a gift of 30 solar powered LED lights to the Village Abdul Hakeem Shah, located near Keenjhar Lake, District Thatta ,Sindh.

Benefits

·Freedom from Darkness — The sunlight fades as early as 6 p.m, leaving the villagers in complete darkness. With solar lantern lighting, they have about an additional five hours of light to add to each day.

·Freedom from Illiteracy — More hours of light means more hours for children to study and get a better education, which is crucial to improving their social-economic future.

·Freedom from Poverty — With solar LED lanterns, the villagers no longer have to pay for expensive kerosene lanterns. Also, with more hours of light, the men and women have additional hours to work, which means more income for each household.

·Freedom from Hunger — More income means more money to better feed each member of the family; a daily concern for villagers.

·Freedom from Disease — Kerosene lanterns give off toxic and dangerous fumes; solar LED lanterns do not. LED lanterns also provide extra visibility, which helps against nighttime hazards.

 

Staff and physicians at Nanaimo Regional General Hospital and Dufferin Place celebrated the official launch of the countdown to the implementation of IHealth, a new electronic system that will be up and running at NRGH and Dufferin Place by summer 2015.

 

The new IHealth electronic tool will track patient health information in a single health record across Island Health facilities, programs and services throughout a patient’s entire life. NRGH and Dufferin Place residential care facility will be the first Island Health locations to receive IHealth.

 

Darioush Winery, Napa Valley, California, USA

 

Darioush, a winery noted for its Bordeaux style estate wines, implements old world labor-intensive, micro-vineyard management and new world state of the art technology to craft fine wines from its estates located in the appellations of Napa Valley, Mt. Veeder and Oak Knoll. Under the direction of Darioush Khaledi and winemaker Steve Devitt, precision and quality are of the utmost importance at the winery.

 

The Property

Darioush welcomes guests to its new visitor center and winery beginning August 16, 2004. The new architectural building comes after five years in the making, and combines materials, castings, and furnishings from distant lands and exotic locations. The 22,000 square foot winery, the first in America to combine architecture, design and Persian culture, provides a unique and exhilarating experience in California’s most renowned wine destination. Reminiscent of the great noble architecture that once existed, the imagery of the Darioush building evokes Persepolis, the illustrious capital of ancient Persia.

 

The Khaledi's Persian heritage is the inspiration and vision for the winery, designed by architects Ardeshir and Roshan Nozari, incorporating clean, contemporary lines with historical references to Persia’s ancient capital city. One of the most important aspects of the Persian culture is hospitality, and the winery is designed to create a welcoming, enjoyable as well as a rich and intriguing environment for guests. Visitors will receive unparalleled service and a sensational experience.

 

“The juxtaposition of modern clean lines and historical references represent the philosophy of our office,” states Ardeshir Nozari, who incorporated many intriguing architectural elements throughout the building. Among the design features of interest are the 16 monumental 18’ freestanding columns with capital bulls, which act as stone trees at the entrance of the winery, elevating visitor expectations. Richly textured travertine-stone cladding surrounds the entire building. This yellow stone was quarried near the region of Persepolis and exported to Turkey and Italy for cutting and tumbling before it reached the Silverado Trail in Napa. Additional design features include pre-cast moldings, furniture, fireplaces, ironwork, lighting, cellars, and an amphitheatre for performances and events.

 

The Visitor Center boasts a state of the art facility offering a unique one-on-one experience to taste the complete line of signature wines with options for indoor and outdoor seating. Six outdoor water features with fountains and one indoor rolling wall of water comprise some of the sights and sounds of the guest experience. Lush and varied landscaping creates a sequence of continuous gardens, which lead the visitors to the winery.

Foto: Luci Sallum/PMC

 

Um novo conceito de solução ambiental para o controle de erosões e de contenção de áreas degradadas foi implementado no município na terça-feira (21/5), com a execução do Projeto Trama Verde em uma área de talude, de aproximadamente dois mil metros quadrados, no Morro dos Cabritos, na Ressaca, onde, em 2020, ocorreram deslizamentos de terra e soterramentos de casas.

 

A área, considerada de risco, recebeu diversas intervenções cujo objetivo é proteger o solo e aumentar a vegetação. No local, técnicos da Defesa Civil e de outras secretarias trabalharam, por cerca de duas semanas, para formatar e concretizar o projeto, que servirá de modelo para outras localidades. Primeiro, foram feitas a roçada e a limpeza de todo o terreno pela equipe da Secretaria de Obras e Manutenção Urbana.

Em seguida, foram instaladas as chamadas “paliçadas” em pontos do talude onde há marcas de erosão. As paliçadas, cuja função é barrar detritos e reduzir os desgastes do solo, foram feitas com madeira provenientes de podas de árvores, isto é, a partir de material biodegradável disponibilizado pela Secretaria de Meio Ambiente e Sustentabilidade.

 

E, por fim, foi feita a revegetação da área por meio do plantio de mudas de diversas espécies, que vão desde árvores frutíferas a até medicinais. O plantio de 80 mudas ocorreu na terça-feira (21/5) e, no decorrer da semana, serão plantadas mais 120. Sementes também estão sendo depositadas no solo com o objetivo de fortalecê-lo.

 

As mudas e sementes adquiridas pelo projeto foram doadas pela Secretaria de Meio Ambiente e Sustentabilidade, pelo Centro Municipal de Agricultura Urbana e Familiar - CMAUF e por entidades que prezam pela utilização de técnicas voltadas à bioengenharia, como a empresa Deflor que destinou ao projeto materiais, como biomanta, adubo, sementes e mudas de Capim Vertiver.

 

“A ideia é apresentar ao município um novo método de estruturação do solo e controle de erosões, que não seja apenas o de impermeabilização do solo (concretagem). Nossa intenção é aumentar a cobertura vegetal e a biodiversidade, e não reduzi-las. Além disso, estamos doando este espaço para moradores do entorno para que eles cuidem e plantem o que desejarem. A ideia é recuperar, retomar a vida e o uso desta área”, explicou a subsecretária de Proteção e Defesa Civil, Ângela Gomes, que participou da elaboração e execução do projeto.

 

Moradores do entorno também se prontificaram a ajudar na ação. Eles não só plantaram como também aprovaram a iniciativa. Um deles, a dona de casa Patrícia Aparecida da Cunha disse que ficou feliz em saber que o local seria revegetado. “Foi gratificante ver esta ação acontecendo hoje. Espero que meus netos e bisnetos vejam esse espaço florido e cheio de frutos”, celebrou.

 

Para o aposentado João Ribeiro, que mora na região há 40 anos, a expectativa é por dias melhores. “Vivemos um sofrimento muito grande em 2020, muitas casas aqui ficaram soterradas. Agora, estamos vendo esse mutirão. Estamos satisfeitos, podem contar conosco para ajudar a conservar”, disse o morador.

 

A subsecretária de Governo de Contagem, Sônia Regina Oliveira, também participou do plantio. De acordo com ela, nem sempre a solução passará pelo concreto e cimento. “Há alternativas sustentáveis e possíveis economicamente. Mas, de fato, o que realmente resolve é a inteligência e a ação humana. De nada adiantará implementarmos tudo isso, se a comunidade não abraçar e ajudar a preservar. É necessário o envolvimento de todos para que possamos fazer deste local um modelo, um exemplo para as oito regiões da cidade”, destacou.

 

Assim como Sônia, a secretária de Defesa Social, Viviane França, acredita na importância da participação dos moradores para o sucesso de qualquer iniciativa. “Defesa civil e prevenção se faz com as pessoas, envolvendo todo o território. Somente dessa forma conseguiremos avançar e evitar a ocorrência de novos desastres ambientais”, salientou a secretária, agradecendo o empenho de todos na implementação do Projeto Trama Verde.

From left to right:

Jean Michel Arrighi, Secretary for Legal Affairs of the Organization of American States

José Miguel Insulza, OAS Secretary General

Vânia Vieira, President of Committee of Experts of the Mechanism for Follow-up on the Implementation of the Inter-American Convention Against Corruption (MESICIC)

Jorge García-Gonzalez, Director of the OAS Department of Legal Cooperation

 

Date: September 15, 2011

Place: Washington, DC

Credit: Juan Manuel Herrera/OAS

Manila, Philippines - Philippine Army soldiers distribute food packs to residents of Barangay Hulong Duhat in Malabon City as part of the 250-million peso aid from the Asian Development Bank, April 4, 2020.

 

Photo by Veejay Villafranca/ Asian Development Bank

 

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The blueprint image is the cover of the vision document, along with the nine team names charged with implementation the Conserving the Future vision document's 24 recommendations.

Sarah Kirby, Group Head, Organization Design and Human Resource Strategy, Zurich Insurance Group, Switzerland speaking during the Session "Implementing Stakeholder Capitalism 1" at the World Economic Forum, Annual Meeting of the Global Future Councils 2019. Copyright by World Economic Forum / Benedikt von Loebell

Source: Sold on Ebay for $200 Jan. 2012.

 

A.H. Gregg was a prominent business man in Farmer Village, now called Interlaken, NY. They originally produced agriculture machinery, and later moved to Trumansburg, NY and established Gregg Iron Works. The principle article of manufacture was the Meadow King Mower, but other implements were added as the capacity of the works increased as the demand warranted. The Osborn Sulky Plow, Sharpe Horse Rake, Morse Horse Rake, King of the Lawn and Young America Lawn Mowers, and later, reaping machines and twine binders were built to quite an extent.The annual out- put for several years was in the neighborhood of 2,000 mowers, 500 reapers, 1,500 rakes, 1,500 lawn mowers, 500 sulky plows, besides hand plows and miscellaneous tools.

  

This rare pass is signed on front by Gregg, with information on back. There is an embossed stamp on the signature portion as well. In good condition with some wear and light soiling. Please see photo. If you collect 19th century Americana history, World's Fair / Expo, photography, etc. this is a treasure you will not see again! Add this to your image or paper / ephemera collection. Important genealogy research importance too. Combine shipping on multiple bid wins!

     

International Cotton Exposition (I.C.E) was a World's Fair held in Atlanta, Georgia from October 5 to December 3 of 1881. h The location was along the Western & Atlantic Railroad tracks near the present day King Plow development. It planned to show the progress made since the city's destruction during the Battle of Atlanta and new developments in cotton production.

 

Placed a short train ride from downtown, it was designed so that the largest building could later be used as a cotton mill. A quarter of a million people attended generating between $220,000 and $250,000 in receipts split evenly between sales and gate receipts.

 

Founding

 

The idea of holding such an exhibition in the South was first suggested by Edward Atkinson of york who in August 1880 wrote a letter to a New York journal discussing the great waste incident to the methods then in use in the gathering and handling of the cotton crop and advised the exhibition to bring all of those interested in the production of this great Southern staple for the purpose of improvement. The Atlanta Constitution republished and urged the importance of some action in regard thereto. A few weeks after the publication of this letter it was announced that Mr. Atkinson was about to make a Southern trip for the purpose of putting the suggestion in form. Mr. H. I. Kimball being impressed with the importance of the enterprise and personally acquainted with Mr. Atkinson, invited him to Atlanta to address the people on the subject. This invitation Mr. Atkinson accepted, and at the solicitation of many prominent citizens of Atlanta he delivered, on October 28, 1880, an address in the senate chamber, in which he advocated Atlanta as the proper place in which to hold a cotton exhibition, such as would result in devising improved methods in the cultivation of the cotton as well as to be a stimulus to the entire industrial development of this section.

 

Early that november, James W. Nagle and J. W. Ryckman came to Atlanta to ascertain what action the citizens proposed to take in the matter. At their suggestion several preliminary meetings were held. A committee consisting of Governor A.H. Colquitt, Mayor W.L. Calhoun, ex-Governor R.B. Bullock and J.W. Ryckman was appointed to prepare a plan for preliminary organization, which resulted in the formation of such an organization and the election of Senator Joseph E. Brown, president; S.M. Inman, treasurer and Ryckman, secretary.

[edit] Incorporation

 

In February 1881, the chamber of commerce proposed and a corporation was organized under the general law, and a charter was obtained from the court. The Atlanta incorporators were those above plus R.F. Maddox, Benjamin E. Crane, Evan P. Howell, M.C. Kiser, Robert J. Lowry, Sidney Root, Campbell Wallace, J.F. Cummings, W.P. Inman, J.C. Peck, L.P. Grant, W.A. Moore, G.J. Foreacre, Richard Peters and E.P. Chamberlin. Associated with them were citizens of several other counties in Georigia and of the states of Pennsylvania, Maryland, Virginia, North and South Carolina, Alabama, Louisiana, Missouri, Massachusetts, New York, Maine, Rhode Island and of London, England. Thus equipped the new enterprise commenced active operations.

 

At first it was only contemplated that the exposition should be confined to cotton and all pertaining thereto, in its culture, transportation, manufacture, etc. The capital stock of the corporation was originally fixed at $100,000 in shares of $100. As the work advanced, however, and as the country became interested in the subject, it was decided to open its doors for the admission of all products from every section, and the capital stock was therefore to $200,000. H.I Kimball was elected chairman of the 25 member executive committee whose mission was to raise the money.

 

It was believed if Atlanta subscribed one-third the amount required, other cities interested in the succedss of the enterprise would contribute the balance. A canvass of the city was made, and in one day the amount proportioned to Atlanta was secured. Mr. Kimball was authorized to visit Northern cities and endeavor to interest them in the undertaking. He visited New York and secured subscriptions to two hundred and fifty-three shares of stock ($25,300); Boston took sixty shares; Baltimore, forty-eight; Norfolk, VA buying twenty-five; Philadelphia, forty-three; Cincinnati, seventy-nine. The gratifying result of Mr. Kimball's work in the North and the apparent interest manifested by the whole country caused the executive committee to take immediate steps to put the whole work of organizing and conducting the enterprise in hand. Kimball was named director-general and CEO.

[edit] Construction begins

Contemporary rendering of the 1881 Exposition

 

Oglethorpe Park was selected as the site of the exposition. It belonged to the city and was located two and one half miles northwest from the railroad depot, and on the line of the Western & Atlantic Railroad. This park was originally laid out and improved under the direction of Mr. Kimball, in 1870 for the use of agricultural fairs, but the work of adapting the grounds and erecting the necessary buildings for the exposition was not an easy task. The work was begun under Mr. Kimball's direction and rapidly pushed to completion and made ready in ample time for the opening of the exposition.

 

The main building was constructed after a general model of a cotton factory, as suggested by Mr. Atkinson, the form being a Greek cross, the transept nearly half the length, the agricultural and carriage annexes extending along the southern side, and the mineral and woods department forming an annex at the extreme western end of the building. Its extreme length was seven hundred and twenty feet, the length of the transport four hundred feet, and the width of the arms ninety-six feet. The dimensions of the remaining principal buildings were as follows:

 

Railroad building, 200x100 fee

Railroad annexes, 40x60 and 40x100 feet

Agricultural implement building 96x288 feet

Carriage annex, 96x212 feet

Art and industry building, 520x60 feet

Judge's hall, 90x120 feet

Horticultural hall, 40x80 feet

Restaurant, 100x200 feet

 

There were several other buildings, as the Florida building, press pavilion, police headquarters, etc, and quite a number of individuals or collective exhibitors erected buildings for themselves.

[edit] Opening

 

The exposition was opened on October 5, 1881 and the occasion formed a memorable day in the history of Atlanta. The event was attended by many governors, senators and congressmen and addresses were made by Kimball, Governor Colquitt, North Carolina Senator Z.B. Vance and Indiana Senator D.W. Voorhees.

 

The exposition was a success in every way. The entire number of exhibits was 1,113 of which the Southern States contributed more than half; New England and Middle States, 341; Western States, 138; foreign, 7. The gross receipts were $262,513, and the total disbursements $258,475. The average daily attendance was 3,816 for the seventy-six days it was open. The largest number of admissions on any one day occurred on December 7th, Planters' Day, when there were 10,293.

 

The Exposition Cotton Mill was opened on the site in 1882 and remained in operation until 1969.[1]

   

Bayan Bayanihan will provide installments of food to support the most vulnerable households for a period of up to 8 weeks, with an estimated $20 million needed for essential food supplies in this period. ADB has already approved $5 million in grants for part of this need and created a team to rapidly lead implementation of the program. Additional funds and in-kind contributions will be needed for the program.

 

Photo: Eric Sales/ Asian Development Bank

 

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Agricultural implements on the grounds of the Tinsley Living Farm at the Museum of the Rockies in Bozeman, Montana. These include a hay baler (the grey vertical piece), a seat rig (green axle with wheels), harvester, and plows. The rig would be hitched to the baler, harvester, or plow as needed.

 

The house was constructed in 1889 by William and Lucy (Nave) Tinsley. William Tinsley worked for Wells Fargo and migrated to Montana in 1864. Lucy was a dressmaker who emigrated to Virginia City, Montana, the same year. Both were originally from Missouri. They met in Virginia City, married in 1867, and relocated to Willow Creek in the Gallatin Valley (about 40 miles west of Bozeman). They built a homestead log cabin (about the size of the current blacksmith shop), and lived there until 1889. Their first child was born in 1868, and by 1889 they had eight kids.

 

William Tinsley built the family a two-story home out of logs taken from the nearby Tobacco Root Mountains. The oldest children helped haul the logs, which took two days to get to the homestead. The structure took two years to construct. Most of the items in the house were ordered from the Sears catalog. The family occupied the house until the 1920s.

 

The house was purchased by the museum in 1987, and moved from its original location to the Museum of the Rockies in 1989. Refurbished with items donated by Tinsley descendants, it now serves as a living history museum. The house sits on 10 acres of land, and includes a historically accurate kitchen garden, flower garden, chicken coop, farm implements, carriage house, blacksmith shop, root cellar, outhouse, functioning well and pump, storage shed, and fields. A full cellar was excavated beneath Tinsley House as well.

 

Visitors are free to touch and use many of the items in Tinsley House. A staff of historical re-enactors includes four women who cook, clean, sew, and perform chores around the house as well as a blacksmith who does ironmongery and repairs.

Participants during the Session "Implementing Stakeholder Capitalism 1" at the World Economic Forum, Annual Meeting of the Global Future Councils 2019. Copyright by World Economic Forum / Benedikt von Loebell

On Saturday 25 May, University College London (UCL) students called on the support of other students and supporters across London to rally outside their Gaza pro-ceasefire encampment after the announcement that a pro-Israel rally would take place outside their main gate that afternoon.

 

One of the most frequently heard chants by students on this and other days was

 

"Disclose, Divest,

We will not stop,

We will not rest."

 

Among the crowd there were many students from the neighbouring School of Oriental and African Studies (SOAS) where an encampment had already been established about two weeks earlier.

SOAS students earlier published a list of demands including, according to two metre high placard at their encampment -

 

1. Disclose - Full details of all university investments

 

2. Divest - from companies complicit in Israel's denial of Palestinian rights - [a list of specific companies followed which included Barclays Bank, Alphabet (Google/Alphabet) and Microsoft.]

 

3. Terminate - the university's banking and lending arrangement with Barclays

 

4. Boycott - Israeli academic institutions which are complicit in the violation of Palestinian human rights, including the University of Haifa

 

5. Commit - to supporting Palestinian education and the rebuilding of Gaza's Schools and Hospitals. Establish partnerships and exchanges with Palestinian institutions and academics. Increase scholarships for Palestinian students. Advocate for removal of restrictions for pro-Palestinian expression.

 

6. Guarantee - the right of students and staff to express solidarity with the Palestinian struggle for liberation including in research, speech and actions.

 

7. Advocate - for the UK government to implement an arms embargo on Israel, to call for an immediate, unconditional and permanent ceasefire.

 

As of the date of posting (4 June 2024) at least 36,932 Palestinians have been killed since 7 October, including more than 15,000 children. An estimated 10,000 are missing, of whom most are probably dead. An unknown number of additional deaths due to excess mortality from food shortages, disease and difficulties in obtaining essential medical care and medicines. More than 82,000 Palestinians have been injured, many of them with life-changing injuries including many amputations. According to the United Nations, as of 2 June, more than half of all residential buildings have been destroyed or damaged but with some key infrastructure the destruction is even more devastating - including 80% of commercial facilities and 86% of school buildings damaged or destroyed. Additionally some 83% of groundwater wells are no longer operational.

 

ttps://www.aljazeera.com/news/longform/2023/10/9/israel-hamas-war-in-maps-and-charts-live-tracker

  

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Although this image is being posted on an attribution noncommercial share alike basis CC BY-NC-SA 2.0 DEED, the following organisations and publications listed on the link below are also welcome to reproduce it even if it is for commercial purposes. However please publish the image on the same attribution noncommercial share alike basis. For more info or if any other organisation, person or publication wishes to publish this photo on a commercial basis please email me at alisdare@gmail.com.

 

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Mingle Media TV and Red Carpet Report host Paige Sullivan were invited to come back and cover the 2nd Annual Rebels with a Cause Gala at Paramount Studios honoring Larry Ellison with Jimmy Kimmel hosting and special guest performances by Barry Manilow and Pharrell Williams. This event supports the lifesaving research of David B. Agus, M.D. at USC’s Center for Applied Molecular Medicine.

 

Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:

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ABOUT THE USC CENTER FOR APPLIED MOLECULAR MEDICINE

The principal goal of the USC Center for Applied Molecular Medicine is the development of novel treatment strategies for cancer. The Center was implemented to enable a convergence of multiple disciplines to work on treatment and the care of patients with cancer. The program includes the clinical care of patients with cancer at the USC Westside Cancer Center in Beverly Hills and has team members with expertise spanning cancer biology, biochemistry, molecular biology, bioinformatics, computer science, electrical engineering, bioorganic chemistry, physics and applied mathematics. For information, visit camm.usc.edu/.

 

For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:

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Vista de la sala de cámara, diseñada para conciertos de música de cámara

 

Teatro Nacional San Salvador El Salvador, Centroamérica

 

Dirección : Calle Delgado y Av. Monseñor Romero frente a plaza Morazán, Departamento de San Salvador, El Salvador America Central

Teléfonos: (503)2222-8760, (503) 2222 5689

Correo electrónico: teatron@cultura.gob.sv

  

Historia: El presidente Manuel Enrique Araujo, su gabinete y otras delegaciones colocaron la primera piedra como parte del programa general de las fiestas del centenario del Primer Grito de Independenciadado en 1911. Quedaron de esa manera iniciados los trabajos del actual Teatro Nacional que finalizaron con su inauguración a las10 de la mañana del 1º de marzo de 1917en presencia del Sr. Presidente Carlos Meléndez.

 

Arquitecto: El arquitecto francés Daniel Beylard

 

Compañia constructora: La firma Ferracutti y Cía. de San Salvador.

 

Estilo Arquitectonico: Renacimiento Francés, Neo clásico.Estilos Artísticos:Versalles, Rococó, Romántico y Art Nouveau

 

Esta joya de la cultura salvadoreña comenzó a construirse en 1911 yconcluyó en 1917 tras un concurso internacional promocionado por el Estado salvadoreño. El diseño ganador fue el del arquitecto francés Daniel Beylard.

 

Se dice que la edificación suplantó a un antiguo Teatro Nacional que se incendió en febrero de 1910. A la fecha, mantiene su fachada principal, la columnata del centro y combina detalles neoclásicos, neogóticos y renacentistas.

 

Con el pasar de los años, este lugar ha recibido otras dos remodelaciones importantes: durante 1975 a 1976 y la más reciente en 2004 a 2007 para abrir las puertas al público en 2008.

 

Esta importante edificación ha sido escenario de óperas italianas, zarzuelas, dramas, conferencias científicas, conciertos de caridad y filmes cinematográficos importantes.

 

Su capacidad es de 650 asientos, distribuidos en tres niveles entre los cuales destacan el exclusivo palco presidencial y el área ministerial.

 

En su interior apreciará el ostentoso estilo renacentista francés con detalles Rococó, Romántico y Art Nouveau. Asimismo visualizará la cúpula elipsoidal que contiene un impresionante mural del pintor salvadoreño Carlos Cañas, combinada con una llamativa lámpara de cristal.

 

Hoy en día, el Teatro Nacional brinda servicios para el desarrollo de las artes como obras de teatro tanto nacionales como internacionales, conciertos de cámara, sinfónicos, música popular y folklórica, entre otras manifestaciones artísticas.

 

Cuenta con cinco espacios disponibles para la realización de estas actividades: la Gran Sala, el Foyer, Lobby, Sala de Cámara y Pequeña Sala para obras de menor montaje y duración.

 

Declarado Monumento Nacional en 1979, el Teatro Nacional es uno de los centros más importantes para las artes escénicas de este país.

 

Ficha Arquitectónica

 

El estilo del Teatro Nacional se le ha denominado Renacentista Francés. Esto se debe por que posee varios estilos combinados en algunos elementos constructivos y arquitectónicos.

 

El edificio cuenta con un sótano, cuatro niveles y la azotea con 12 tragaluces incluyendo el de la cúpula.

 

El Teatro cuenta con una fachada principal y lateral (norte y poniente) con 45 mts de longitud en ambos lados. La altura desde la acera al parapeto es de 17.43 mts y al techo del escenario es de 25.94 mts.

 

Los corredores interiores: se observan pasillos con puertas de madera que poseen un medallón en la parte superior, confeccionados en cobre repujado. En las paredes y cielo falso se pueden observar molduras diversas: lineales y circulares colocadas en forma simétrica. El piso ladrillo de cemento de forma exagonal en colores gris, rojo y negro con figuras cúbicas tridimensionales.

 

El vestíbulo: en el primer nivel se ubica el vestíbulo el cual posee piso de mármol original, paredes con molduras; pilastras con capiteles jónicos, y “chandeliers” suspendidos del cielo falso y otros empotrados en las paredes, todos en estilo María Teresa.

 

La Gran Sala: en la gran sala se pueden observar balcones estriados, decorados con escudos repujados en cobre, molduras en forma de guirnaldas. En las pechinas se observan molduras con escudos en color dorado antiguo. En la parte superior del arco del proscenio se observa un decorado completamente con figuras de andeles. La tarima del escenario es de madera opacaste, el cual esta dividido en dos la pare frontal es un elevador hidráulico y la segunda es una tarima fija.

La Gran Sala está conformada por tres niveles; vista en sala tiene forma de elipse; el primer nivel cuenta con el patio de butacas, palcos de viudas que se utilizan para los equipos de luces, 6 palcos en cada costado y 9 palcos frontales; el segundo nivel de palcos se repite el mismo diseño pero es aquí donde se ubica el palco presidencial este cuenta con elementos de mármol (pechos de paloma), molduras, decoraciones que incluyen dos cariátides a cada lado. Las mismas pertenecen a la remodelación de los años 70. En el 3er nivel de la misma cuenta con palcos laterales y una galería de butacas en la parte frontal.

 

La cúpula: La pintura de la cúpula fue creada por el pintor Carlos Cañas, el nombre de la misma es “EL Mestizaje”. Al centro se observa un tragaluz que posee vitrales en las cuatro caras. Se dice que la pintura original de dicha cúpula estaba plasmada el Atlas en los cuatro puntos cardinales, sin embargo se desconoce el porque fue sustituida.

 

El Café Teatro: Ubicado en el Primer Nivel al costado poniente del edificio, cuenta también con una pintura en el cielo falso manteniendo el mismo concepto de la pintura de la Gran Sala.

 

Servicios al público: Los servicios al público de damas y caballeros cuenta con una decoración en relieve en las paredes con estilo Art Noveau, espejos empotrados con molduras ovaladas. Poseen apliques en forma de flor de loto, detalle que se repite en algunas de las molduras en todo el edificio. En las paredes de los descansos de las gradas de áreas públicas se observa la cornucopia en la base de una ventana de forma elipsoidal.

 

Logotipo: El emblema (logotipo) o escudo del Teatro Nacional el cual se puede observar en ventanas, molduras en paredes, en remates de arcos de medio punto y en decorados de los telones de la Pequeña y Gran Sala; fue implementado en el ultimo periodo de remodelación, Diseñado por el arquitecto Luis Castillo. Su forma es elipsoidal con un decorado sencillo a cada lado, en la parte central se observan dos letras interpuestas la del fondo es la letra T y la antepuesta es la letra N, la ultima de 1/3 del tamaño de a la primera, el tipo de letra se conoce como “Times New Roman”.

Scenes from the Crime & Punishment Museum in Washington, DC

«결사관찰».

Some women are busy decorating their block of flats with another slogan. Seen in Namsinuiju.

USAID stands with the Ukrainian people during wartime. All of our more than 40 development activities continue to operate, thanks to the brave and determined work of our network of implementing partners. Ambassador Brink met with a group of USAID implementing partners in Kyiv, thanking them for their continued work on the ground to support Ukraine and the Ukrainian people. USAID will continue to support Ukraine as it resists Russia’s aggression and prepares for a successful postwar recovery.

 

Gender Equality: from the Biarritz Partnership To the Beijing+25 Generation Equality Forum

 

This side-event, hosted by the French and Mexican Foreign Affairs Ministers, Jean-Yves Le Drian and Marcelo Ebrard, and co-sponsored by UN Women, will take stock of the gender equality outcomes of the Biarritz summit and the work of the Gender Equality Advisory Council (of which the Executive Director of UN Women is a member) and officially introduce the Generation Equality Forum in Mexico in May 2020 and in Paris in July 2020 to the international community. Convened by UN Women, co-hosted by France and Mexico, and organized in close partnership with civil society, the Generation Equality Forum in Mexico and Paris will celebrate the 25th anniversary of the adoption of the Beijing Platform for Action, with the aim of giving new impetus to the implementation of the outcomes of the Beijing Conference. Speakers at the high level event at the UNGA include Jean-Yves Le Drian and Marcelo Ebrard, the Foreign Affairs Ministers of France and Mexico; members of the G7 Gender Equality Advisory Council Phumzile Mlambo-Ngcuka, Executive Director of UN Women, Katja Iversen, President of Women Deliver, and Rula Jebreal, foreign policy analyst and journalist; as well as Dr. Denis Mukwege, world-renowned gynaecologist, human rights activist and Nobel Peace laureate; Marlène Schiappa, Minister of State for Gender Equality and the Fight against Discrimination, France; and Nadine Gasman, President of Inmujeres Mexico.

 

WHEN: Monday, 23 September, 6.30–8 p.m.

WHERE: Conference Room 3, United Nations HQ, New York

 

Photo: UN Women/Ryan Brown

G. M. Howell's Thresher

Albion, Wash.

Sept. 15, '09

 

Date: September 15, 1909

Source Type: Photograph

Printer, Publisher, Photographer: Flower and Son

Postmark: Not Applicable

Collection: Steven R. Shook

Remark: This photograph is titled and dated as written above.

 

George M. Howell homesteaded land approximately one mile west of Albion, Washington. Howell's farm consisted of 400 acres, which included the North Half of Section 8 (320 acres) and the North Half of the Southeast Quarter of Section 8 (80 acres), both located in Township 15 North, Range 44 West.

 

At one point in time, Howell owned the hotel in Albion, Hotel Albion, which burnt to the ground on February 21, 1910, as well as a store retailing farming implements and supplies, also located in Albion.

 

Howell was granted a U.S. government land patent on the South Half of the Northeast Quarter of Section 8 and the North Half of the Southeast Quarter of Section 8, a total of 160 acres, on June 1, 1882. He received a second land patent on the North Half of the Northeast Quarter of Section 8 and the East Half of the Northwest Quarter of Section 8, also consisting of 160 acres, on October 11, 1888. Given that it took at least five years to "prove up" a land claim under the Homestead Act of 1862, Howell was living in Section 8 as early as June 1877.

 

The Howell farm was located north of where present day [2014] Albion Road and Hoffman Road intersect.

 

George M. Howell and his household appear in the 1900 U.S. Federal Census for the Guy Precinct in Whitman County, Washington; Guy was the former name of the town of Albion. They are listed as Follows:

 

George Howell, age 56, born April 1844 in England, immigrated to U.S. in 1848, and occupation is listed as farmer.

 

Juliette E. Howell, wife of George, age 47, born March 1853 in New York.

 

Albert E. Howell, son of George, age 24, born August 1875 in Wisconsin, occupation is listed as farm laborer.

 

Julia A. Howell, daughter of George, age 21, born January 1879 in Washington.

 

Herbert C. Howell, son of George, age 19, born January 1881 in Washington, occupation is listed as school.

 

Myrtle E. Howell, son [daughter?] of George, age 14, born December 1885 in Washington, occupation is listed as school.

 

Rolin M. G.. Howell, son of George, age 8, born May 1892 in Washington.

 

Alma V. Howell, daughter of George, age 5, born July 1894 in Washington.

 

John A. Gleason, employee of George, age 26, born June 1873 in Michigan, occupation is listed as farm laborer.

 

George R. Hart, employee of George, age 31, born March 1869 in Wisconsin, occupation is listed as farm laborer.

 

George is buried in the Albion Cemetery, his tombstone indicating a date of birth of 1845 and a date of death of 1929. He shares his tombstone with his wife Juliette, who was born in 1852 and died in 1920. Alma V. Howell (1894-1927), daughter of George and Juliette, is also inscribed this tombstone and presumably is buried with her parents.

 

Copyright 2014. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.

THE TRADEMARK OF QUALITY

 

JOHN DEERE

QUALITY FARM

EQUIPMENT

 

MADE FAMOUS BY GOOD IMPLEMENTS

 

Sales .. Service

 

PORTER COUNTY

IMPLEMENT CO.

 

Phone 4-3701

 

1008 E. Lincolnway

VALPARAISO, IND.

 

There's a

JOHN DEERE

TRACTOR

 

For Every Farm...

Crop...Purpose

 

Source Type: Matchcover

Publisher, Printer, Photographer: The Ohio Match Company

Collection: Steven R. Shook

 

Copyright 2018. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.

Secretary Carson announces FY18 Choice Neighborhood Implementation Grants in Newport News, VA

Gender Equality: from the Biarritz Partnership To the Beijing+25 Generation Equality Forum

 

This side-event, hosted by the French and Mexican Foreign Affairs Ministers, Jean-Yves Le Drian and Marcelo Ebrard, and co-sponsored by UN Women, will take stock of the gender equality outcomes of the Biarritz summit and the work of the Gender Equality Advisory Council (of which the Executive Director of UN Women is a member) and officially introduce the Generation Equality Forum in Mexico in May 2020 and in Paris in July 2020 to the international community. Convened by UN Women, co-hosted by France and Mexico, and organized in close partnership with civil society, the Generation Equality Forum in Mexico and Paris will celebrate the 25th anniversary of the adoption of the Beijing Platform for Action, with the aim of giving new impetus to the implementation of the outcomes of the Beijing Conference. Speakers at the high level event at the UNGA include Jean-Yves Le Drian and Marcelo Ebrard, the Foreign Affairs Ministers of France and Mexico; members of the G7 Gender Equality Advisory Council Phumzile Mlambo-Ngcuka, Executive Director of UN Women, Katja Iversen, President of Women Deliver, and Rula Jebreal, foreign policy analyst and journalist; as well as Dr. Denis Mukwege, world-renowned gynaecologist, human rights activist and Nobel Peace laureate; Marlène Schiappa, Minister of State for Gender Equality and the Fight against Discrimination, France; and Nadine Gasman, President of Inmujeres Mexico.

 

WHEN: Monday, 23 September, 6.30–8 p.m.

WHERE: Conference Room 3, United Nations HQ, New York

 

Photo: UN Women/Ryan Brown

en.wikipedia.org/wiki/Hoxne_Hoard

About Dr.Mihir Kumar Panda, Ph.D,D.Litt,, innovator

World’s only achiever of large number of World Record for 10,000 Teaching Aids & innovations

Founder & Co-ordinator General, ‘SROSTI’ (Social Development research Organisation for Science, technology & Implementation)

Collaborator Vijnana Bana Ashram

Bahanaga, Baleshwar, Odisha, India-756042

Website : simpleinnovationproject.com

E-Mail- : mihirpandasrosti@gmail.com

 

Face Book link:https://www.facebook.com/mihirpandasrosti

WIKIMAPIA

wikimapia.org/#lang=en&lat=-6.174348&lon=106.8293...

Contact No. : +91 7008406650

Whatsapp: +91 9438354515

 

Dr.Mihir Kumar Panda, an Educational, Societal and Scientific Innovator has established an NGO 'SROSTI' at Bahanaga, Balasore,Odisha,India

 

Dr. panda has innovated/invented more than 10,000 (ten thousand) teaching aids and different innovations and he has more than 30,000 (Thirty thousand) ideas to make scientific and mathematical models.

 

His creations are very essential guide for school and college science exhibitions, innovative learning and play way method for the teachers and students, science activists, innovators, craftsmen, farmers, masons, physically challenged persons, common men, entrepreneurs and industrialists.

 

He is popularizing science through song, innovative demonstrations and motivational speech since 1990 in different parts of Odisha state without taking any fees.

 

Dr. Panda is an extreme motivational speaker in science and possess magical scientific demonstration and a crowd puller.

 

Innovator Mihir Kumar Panda loves nature and in his agricultural farm he does not uses the chemicals , fertilizers and pesticides. In his farm even the smallest creatures like snakes, caterpillar, white ants, worms ,vermies are in peace and are managed successfully not to do harm.

 

Dr. Panda is an Educationist, an environmentalist, a poet for science popularization, a good orator, a best resource person to train others in specific field of science and engineering.

 

The uniqueness of Simple Innovation and scientific activities and achievements ofDr. Panda can not be assessed without visiting his laboratory which is a living wonder in the realm of science.

 

From a small cake cutter to mechanical scissor, from a play pump to rickshaw operated food grain spreader and from a village refrigerator to a multi-purpose machine, thousands of such inventions and innovations are proof of Dr. Panda's brilliance.

 

From a tube well operated washing machine to weight sensitive food grain separator, from a password protected wardrobe to automatic screen, from a Dual face fan to electricity producing fan are example of few thousands of innovations and inventions of Mihir Kumar Panda.

 

Dr.Mihir Kumar Panda though bestowed to a popular name as Einstein of Odisha is obliviously treated as Thomas Alva Edison of India.

 

Dr. Panda's residential house also resembles a museum with scientific innovations of different shapes and sizes stacked in every nook and cranny which proves his scientific involvement in personal life.

 

Innovator Panda believes that , the best thing a child can do with a toy to break it. he also believes that by Educating child in his/her choice subject/ passion a progressive nation can be built.

 

The shelf made scientist Dr. Panda believes that Education is a life long process whose scope is far greater than school curriculum. The moulding of models/ innovations done by hand always better than the things heard and the facts incorporated in the books.

 

With no agricultural background, Dr. Panda has developed unique natural bonsai in his Vijnana Bana Ashram which also shows path for earning just by uprooting and nurturing the plants which are found to be small and thumb in nature.

 

Dr. Panda's Scientific Endeavour and research is no doubt praise worthy. One cannot but believe his dedicated effort in simple innovation laboratory.

 

Social service, innovation/ inventions, writing, free technology to students for preparation of science exhibition projects, free technology to common men for their sustainability, preparation of big natural bonsai, technology for entrepreneurs and industrialists for innovative item are few works of Mihir Kumar Panda after his Government service.

 

. To overcome the difficulties of science and math, explanation in classes, innovator Panda has created few thousands of educational, societal and scientific innovations which helps teachers and students of the country and abroad.

 

Dr. Panda believes that though inventions/innovation has reached under thousands and thousands deep in the sea and high up in the space. It has reached on moon and mars, but unfortunately the sustainable inventions/innovation has not properly gone to the tiny tots and common people.

 

Dr. Panda is amazing and wizard of innovations and works with a principle the real scientist is he, who sees the things simply and works high.

 

Dr.Mihir Kumar Panda's work can be explained in short

 

Sports with Science from Dawn to Dusk

Struggle some life- science in words and action

Triumphs of Science - Science at foot path

Hilarious dream in midst scarcity

  

A life of innovator de-avoided of Advertisement.

  

FELICITATIONS, AWARDS, HONOURS & RECORDS

* 200+ Felicitation and Awards from different NGOs, Schools & Colleges within the State of Odisha and National level.

* 10 Nos Gold, Silver & Bronze medal from different National & International level.

*Awarded for 10,000 innovations & 30,000 ideas by Indian Science Congress Association, Govt. of India.

* Honorary Ph.D From Nelson Mandela University, United States of America

* Honorary Ph.D From Global Peace University, United States of America& India

* Honorary D.Litt From Global Peace University, United States of America& India

* Title ‘Einstein of Odisha’ by Assam Book of Records, Assam

* Title ‘Thomas Alva Edison of India’ by Anandashree Organisation, Mumbai

* Title ‘ Einstein of Odisha & Thomas Alva Edison of India’ from Bengal Book of World record.

*World Record from OMG Book of Records

*World Record from Assam Book of Records,

* World Record from World Genius Records, Nigeria

* World Record from BengalBook of Records

* National Record from Diamond Book of Records

* World Record from Asian World Records

* World Record from Champians Book of World Records

* World Record from The British World Records

* World Record from Gems Book of World Records

* World Record from India Star World Record

* World Record from Geniuses World Records

* World Record from Royal Success International Book of Records

*World Record from Supreme World Records

* World Record from Uttarpradesh World Records

*World Record from Exclusive World Records

*World Record from international Book of Records

*World Record from Incredible Book of records

* World Record from Cholan Book of World Record

* World Record from Bravo International Book of World Record

* World Record from High Range Book of World Record

* World Record from Kalam’s World Record

* World Record from Hope international World Record

* International Honours from Nigeria

* Indian icon Award from Global Records & Research Foundation (G.R.R.F.)

* International Award from USA for the year’2019 as INNOVATOR OF THE YEAR-2019

* National level Excellence Leadership Award-2020 from Anandashree Organisation, Mumbai

* Best Practical Demonstrator & Theory instructor from Collector & District Magistrate,

Balasore.

* Best Innovator Award by Bengal Book.

* Popular Indian Award by Bengal Book.

* Great man Award by Bengal Book.

* Best Indian Award by Bengal Book.

* The Man of the Era by Bengal Book.

IMPORTANT LINK FILES TO KNOW THE WORK OF

Dr. MIHIR KUMAR PANDA

Dr.Mihir Ku panda awarded at indian science congress Association, Govt. of India for 10000 innovations & 30,000 ideas

youtu.be/MFIh2AoEy_g

Hindi Media report- Simple innovation science show for popularisation of science in free of cost by Dr.Mihir Ku Panda

youtu.be/gPbJyB8aE2s

Simple innovation science show for popularisation of science in free of cost in different parts of India By Dr.Mihirku Panda

www.youtube.com/user/mihirkumarpanda/videos?view=0&so...

Simple innovation laboratory at a Glance

youtu.be/yNIIJHdNo6M

youtu.be/oPBdJpwYINI

youtu.be/XBR-e-tFVyE

youtu.be/3JjCnF7gqKA

youtu.be/raq_ZtllYRg

MORE LINK FILES OF Dr MIHIR KUMAR PANDA

 

www.youtube.com/watch?v=MFIh2AoEy_g

www.youtube.com/channel/UCIksem1pJdDvK87ctJOlN1g

www.youtube.com/watch?v=AHEAPp8V5MI

www.youtube.com/watch?v=W43tAYO7wpQ

www.youtube.com/watch?v=me43aso--Xg

www.youtube.com/watch?v=6XEeZjBDnu4

www.youtube.com/watch?v=gPbJyB8aE2s

www.youtube.com/watch?v=yNIIJHdNo6M

www.youtube.com/watch?v=oPBdJpwYINI

www.youtube.com/watch?v=XBR-e-tFVyE

www.youtube.com/watch?v=3JjCnF7gqKA

www.youtube.com/watch?v=raq_ZtllYRg

cholanbookofworldrecords.com/dr-mihir-kumar-pandaph-d-lit...

www.linkedin.com/in/dr-mihir-kumar-panda-ph-d-d-litt-inno...

www.bhubaneswarbuzz.com/updates/education/inspiring-odish...

www.millenniumpost.in/features/kiit-hosts-isca-national-s...

www.youtube.com/watch?v=hFE6c-XZoh0

www.youtube.com/watch?v=WzZ0XaZpJqQ

www.dailymotion.com/video/x2no10i

www.exclusiveworldrecords.com/description.aspx?id=320

omgbooksofrecords.com/

royalsuccessinternationalbookofrecords.com/home.php

british-world-records.business.site/posts/236093666996870...

www.tes.com/lessons/QKpLNO0seGI8Zg/experiments-in-science

dadasahebphalkefilmfoundation.com/2020/02/17/excellent-le...

www.facebook.com/…/a.102622791195…/103547424435915/… yearsP0-IR6tvlSw70ddBY_ySrBDerjoHhG0izBJwIBlqfh7QH9Qdo74EnhihXw35Iz8u-VUEmY&__tn__=EHH-R

wwwchampions-book-of-world-records.business.site/?fbclid=...

www.videomuzik.biz/video/motivational-science-show-ortalk...

lb.vlip.lv/channel/ST3PYAvIAou1RcZ%2FtTEq34EKxoToRqOK.html

imglade.com/tag/grassrootsinventions

picnano.com/tags/UnstoppableINDIAN

www.viveos.net/rev/mihirs%2Btrue%2Bnature

m.facebook.com/story.php…

www.facebook.com/worldgeniusrec…/…/2631029263841682…

 

www.upbr.in/record-galle…/upcoming-genius-innovator/…

 

www.geniusesworldrecordsandaward.com/

www.upbr.in/record-galle…/upcoming-genius-innovator/…

m.facebook.com/story.php?story_fbid=699422677473920&i...

www.facebook.com/internationalbookofrecords/

www.youtube.com/channel/UCBFJGiEx1Noba0x-NCWbwSg

www.youtube.com/watch?v=nL60GRF6avk

www.facebook.com/bengal.book.16/posts/122025902616062

www.facebook.com/bengal.book.16/posts/122877319197587

www.facebook.com/bengal.book.16/posts/119840549501264

supremebookofworldrecords.blogspot.com/…/welcome-to…

www.bravoworldrecords.com/

incrediblebookofrecords.in/index.php

www.highrangeworldrecords.com/

 

Implemented by Conrail, this style of crossbuck is unique to Ohio. Its red lettering and stripes nicely match RJ Corman GP20 4119 as it pulls out of Mace Yard in Massillon, Ohio with a local freight, long hood forward.