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The festival celebrates the finest in both gardening and food. Visitors can expect stunning show gardens and nursery displays alongside a bounty of food producers, shopping and top tips from garden experts and celebrity chefs.
Set against the picturesque Malvern Hills, show gardens are always a number one destination, with five designers being awarded with RHS Gold Medals in 2016.
The Floral Marquee is bursting with examples of the finest nurseries in the UK and abroad, with many old favourites and new varieties on sale.
The foodie hotspot, Festival Food and Drink Pavilion, is a lively market of food producers offering a variety of artisan produce. At the heart is a Kitchen Theatre where celebrity guests and local producers showcase their skills and produce.
Other festival favourites include the School Gardens, Get Going Get Growing pavilion and Family Day (Sunday).
RHS Malvern Spring Festival is a joint partnership with the Royal Horticultural Society and Three Counties Agricultural Society.
An entirely new vision brings RHS Malvern Spring Festival into full bloom for 2017, taking inspiration from the event’s Spa town heritage. The landmark four-day spectacle, taking place from Thursday 11 – Sunday 14 May at the Three Counties Showground, welcomes all new features and exhibits and a vibrant line up of the finest in gardening, food and lifestyle.
Jane Furze, Head of RHS Malvern Spring Festival, said: “We are so excited to share the glorious plans that are afoot for RHS Malvern Spring Festival 2017. It really is going to be a sensational year for our leading event with plenty for everyone. Whether you’re a newcomer to gardening, a veteran horticulturalist or simply looking for a family day out, RHS Malvern Spring Festival has it all. We look forward to welcoming visitors to our stunning showcase of spring in May.”
The new vision for RHS Malvern Spring Festival takes inspiration from Malvern Spa’s Victorian heyday as a fashionable health resort – a place where day-trippers descended to take advantage of the clean air and to enjoy the health giving waters amongst the romantic beauty of the hills and into a town of pleasure gardens, assembly rooms and numerous eating-places.
Promising a bountiful day out for everyone, visitors can expect:
NEW FOR 2017
FLORAL MARQUEE
RHS Malvern Spring Festival boasts the UK’s longest Floral Marquee at over 195 metres – the equivalent length of four Olympic swimming pools. The Floral Marquee welcomes more than 65 leading UK and international nurseries, setting the horticultural standards with impressive displays of prized blooms and new varieties. Exhibitors in the Floral Marquee represent the very best in plants and advice available. Here visitors can browse and buy from the very best.
JOE SWIFT’S PLANT HUNTER PARLOUR
BBC Gardeners’ World presenter and acclaimed garden expert, Joe Swift brings to life a new centerpiece of the Floral Marquee – Joe’s Plant Hunter Parlour. This immersive experience like no other features daily talks from award winning nurseries and welcomes budding gardeners big and small to discover, learn and indulge their inner plant hunter.
LIVE WELL
Newly introduced for the very first time, this dedicated zone interprets and explores the theme of health and wellbeing in the 21st century.
JEKKA MCVICAR’S HEALTH & WELLBEING GARDEN
The centrepiece of the Live Well zone, British Queen of Herbs, Jekka McVicar designs and builds a specially commissioned permanent garden, bringing to life the role gardens continue to play in our health and sense of wellbeing. Jekka’s garden is a living working space for mind, body and senses.
The garden is both a tranquil seating space where visitors can spend time amongst the aromatic herb beds, and a place to learn and explore what living well meant in yesteryear and what it means today. Visitors are invited to join daily ‘herbal conversations’ with Jekka herself and explore the awe-inspiring world of alternative therapies. The garden is in support of Pathways, a day service for adults with learning disabilities and difficulties.
GROW
A horticultural experience by Jon Wheatley, RHS Gold Medal winning gardener and Chairman of RHS South West in Bloom, Grow takes inspiration from interactive Country gardens and wildflower borders, showcasing a variety of edible beds and bountiful Grow To Show competitions.
SPA GARDENS
A brand new category introduced for the very first time to RHS Malvern Spring Festival, offering a unique platform for emerging gardening talent. Glorious gardens from up and coming designers bring to life the new vision and reflect the thirst for knowledge, new horizons and innovative technology at the heart of Malvern’s Victorian heritage. Gold Medal winning Chelsea garden designer, Jo Thompson is mentoring the new talent as they embark on this exciting new challenge. The Spa Gardens category also features one garden from an international designer supported by the esteemed Moscow Flower Show. This is part of a newly introduced exchange programme, which in return offers one selected British Spa Garden designer the once in a lifetime chance to showcase at Moscow Flower Show in July.
INDOOR SHOPPING ARCADES
A premium quality shopping experience, it is here that visitors can pick up unique pieces in fashion, furniture, homewares, horticulture, gifts and more from independent designers, craftsmen, artisans and artists.
PLANT ARCADES
An exciting open-air shopping experience with over 35 nurseries, each showcasing a wonderful array of plants. Plant steals aplenty can be found here, especially during the famous sell-off on Sunday.
MAKING A WELCOME RETURN
FESTIVAL GREEN
The heart of RHS Malvern Spring Festival featuring a colourful array of pleasure gardens, a bandstand of live music, an impressive collection of classic cars, an array of global flavours from the International Street Food Market, and plenty of places to picnic. It is here visitors rediscover the Victorian love of amusement, surprise and delight, alongside enjoying unique show gardens unlike any other.
FESTIVAL THEATRE
Hosted by RHS Malvern Spring Festival favourite and award winning writer and broadcaster, James Alexander-Sinclair, the Festival Theatre plays host to a lively line up of leading experts and familiar faces. Visitors may take a seat and enjoy demonstrations, talks and exciting features as personalities share their knowledge and passion for all things gardening and food. Confirmed experts include Carol Klein, Joe Swift, Jekka McVicar and Jon Wheatley with plenty more to be announced soon.
SHOW GARDENS
The highest standard of garden design is showcased in the Show Gardens of RHS Malvern Spring Festival 2017. Leading designers create awe-inspiring gardens as they compete for prestigious RHS accolades including Gold medals and the coveted Best In Show. RHS Malvern Spring Festival is famed as the show that raises the bar for design and horticultural talent with numerous RHS Gold medals awarded in 2016. This year is tipped to be no exception.
FOOD & DRINK PAVILION
A foodie hotspot, the Food & Drink Pavilion is a magnificent celebration of British tastes with bountiful offerings from the country’s best-loved artisan producers. Expect the freshest field produce, big cheeses, bread of heaven, specialty gins, decadent bakes and more.
KITCHEN GARDEN THEATRE
This animated live kitchen, hosted by Mark Diacono, showcases a line up of delicious cookery demonstrations from culinary experts and the country’s top chefs. Mark shares advice from his home farm cookery school, Otter Farm and experience as head gardener at River Cottage.
YOUNG GARDENER
A hive of activity tailored to inspire the next generation of gardeners and horticulturalists with fun hands-on activities to help children learn and explore the wonderful world of plants and gardens.
FAMILY DAY
Budding gardeners great and small are invited to get green fingered with a dedicated Family Day on the Sunday of RHS Malvern Spring Festival. This exciting and educational day with plenty of hands on activities is the ideal opportunity to engage children in the fun of gardening and the great outdoors. Expect Kids Cookery demonstrations, make and take crafts, Kids Plant and Grow workshops with BBC Blue Peter Gardener, Chris Collins and more.
SCHOOL GARDENS
RHS Malvern Spring Festival is one of the only RHS Shows in the UK to have a collection of Show Gardens designed and built entirely by young people. This year sees over 12 schools and educational groups from across the three counties taking part, led by BBC Blue Peter Gardener, Chris Collins.
RHS Malvern Spring Festival 2017 will take place from Thursday 11 May until Sunday 14 May. For more information, please call 01684 584900 or visit
British Queen of Herbs, Jekka McVicar will unveil the first ever specially commissioned permanent garden at RHS Malvern Spring Festival 2017. A magnificent centrepiece of the celebrated event’s all-new Live Well zone, Jekka’s garden will bring to life the contribution horticulture continues to make to our health and wellbeing in today’s bustling modern world. The Health & Wellbeing Garden will be launched when the show opens its gates on Thursday 11 May at the Three Counties Showground.#
RHS Ambassador for Health through Horticulture, Jekka McVicar said: “I am delighted to have been asked to create a lasting garden for RHS Malvern Spring Festival. I want the Health & Wellbeing Garden to be a usable and beautiful space that is embraced by people of all ages – a space for growth, education and reflection. With the Malvern Hills as a dramatic backdrop, RHS Malvern Spring Festival is such a beautiful place and because it’s at the start of the summer, it’s always a time of such optimism. It is a real privilege to bring this garden to life as part of such a dynamic and exciting show.”
Jekka’s Health & Wellbeing garden, as the focus for the new Live Well Zone, is inspired by the increasing need for reflection and escape from the stresses of modern life. It also seeks to preserve and share the vital knowledge of how horticulture and its associated therapies can help the mind, body and soul. The garden will be a living, working space with a tranquil seating area, where visitors can immerse themselves amongst the aromatic herb beds, and also educate themselves on the place that herbs and horticulture play in today’s society.
Head of RHS Malvern Spring Festival, Jane Furze said: “It is a real pleasure to be working with Jekka to build a garden not only for this year’s event, but also for the future. Jekka’s designs look spectacular and we cannot wait to see these brought to life and shared with our many visitors. The Health & Wellbeing Garden will no doubt be a real highlight of RHS Malvern Spring Festival 2017 and for many years to come.”
Throughout the 4-days of RHS Malvern Spring Festival, Jekka will host daily ‘herb conversations’ in the garden, unearthing hidden gems from the world of alternative therapies, food and gardening. Jekka will also provide insights into herbs as the foundation of modern medicine, seeking to preserve the knowledge that over time is danger of being lost.
The Health & Wellbeing Garden is in support of Pathways, a work-focused day service for adults with learning disabilities and difficulties. Pathways use gardening and the environment as an educational tool to introduce young adults to the working world. Clients of Pathways benefit from gaining vital skills for entering the working world, these include trust, communication, interaction with peers, taking direction and responsibility for themselves and others.
Leaving a legacy, Jekka’s garden will provide Pathways with a nurturing space to continue their works in encouraging clients to grow. Throughout the show times, Pathways will sell plants and refreshments from the garden. Funds raised from these sales go towards covering the costs of the residential trip taken twice each year for clients of Pathways, a vital retreat for clients that contributes to their sense of wellbeing. Outside of show days, Pathways and local schools will host sessions in the garden. The garden aims to inspire visitors of all ages and abilities with engaging elements tailored for all.
Jekka’s design will incorporate the unique and flexible WoodBlocX system, specially selected to provide permanent raised bed structures to house the garden’s vast selection of herbs and edibles. The centrepiece of the garden contains four large planted sections featuring smooth curves constructed from the unique WoodBlocX system. WoodBlocX use sustainable, long-lasting, organic and FSC accredited wooden bricks, which can be used to create any shape such as the naturally fluid curves seen in Jekka’s elegant design.
Considered an unmatched expert by the UK’s top chefs and horticulturalists, Jekka McVicar is an enterprising British herb grower, organic gardening expert, author and broadcaster. Jekka’s Herb Farm, in nearby South Gloucestershire, boasts the largest collection of culinary herbs in the UK with more than 500 different varieties.
Alongside her RHS Ambassadorship for Health through Horticulture, Jekka’s accolades include 62 RHS Gold Medals, Garden Media Guild Lifetime Achievement Award and the RHS Lawrence Medal for the best exhibit shown at any RHS show in 2009. Jekka is also a Vice President of the RHS, Vice President of the Herb Society, is a founder member of the RHS Herb advisory group, and a member of the RHS Three Counties Agricultural Society Joint Committee. Jekka has herself exhibited at RHS Malvern Spring Festival since 1993 and has been a vital contributor to the team at Three Counties for over a decade.
RHS Malvern Spring Festival 2017 will take place from Thursday 11 May until Sunday 14 May. Tickets are now on sale. For more information and to book tickets, please call
27/02/16 #1153. A productive afternoon removing the non-functional heater from the Alfa. The blower fan motor is definitely knackered - seen here - so I will have to get a new one. The heater matrix wasn't even connected to engine's coolant system - so no chance of it working. I will need to check the heater matrix and work out how the missing hoses should be connected. The whole thing was covered in South African sandy dirt
Fragments #34 for the Treasure Hunt
It's official, Kirby is my definite main! Meta Knight and Kirby shot up threw alot of people off the charts. Including Fox! They're now taking 2nd and 1st respectively. Other changes include Wario's return, Bowser Jr, Shulk, and Captain Falcon's drop, and Dr. Mario appearance.
The War Memorial fund had reached nearly £600 and in addition to the plaque now in the school chapel was put towards an extension of the West Wing to include a Library and Dormitory. This was to be completed within the year. This area is now the two Block 4 classrooms.
Brigadier Stanley James Ledger Hill DSO**MC was the only non-general to have a statue in his honour on the Normady beaches. He was at Wellesley House from 1920-1924.
Brigadier Stanley James Ledger Hill DSO & Two Bars, MC (14 March 1911 – 16 March 2006) was an officer in the British Army who served as commander of the 3rd Parachute Brigade of 6th Airborne Division during the Second World War. Born in Bath, Somerset, Hill was educated at Wellesley House School, Marlborough College and Royal Military Academy Sandhurst before joining the British Army in 1931 and being commissioned into the Royal Fusiliers. He commanded a platoon for a short period, and was then attached to the command post of Field Marshal Lord Gort during the Battle of France, where he oversaw the evacuation of Brussels as well as the beach at La Panne during the evacuation of Dunkirk. After a brief period of time in the Irish Free State, he volunteered for parachute training and joined the 1st Parachute Battalion, and was its commanding officer when its parent formation, 1st Parachute Brigade, was deployed to North Africa.
Hill commanded the battalion during its first airborne operation in North Africa, dropping near the towns of Souk el-Arba and Béja, in Tunisia. It secured Beja and then sent out patrols to harass German troops, ambushing a convoy and inflicting numerous German casualties, and defended a bridge at Medjez el Bab, although it was eventually forced to retreat. Hill was wounded during an attack by the battalion on Gue Hill, in which he attempted to capture three Italian tanks using his revolver; the crews of two were successfully subdued without incident, but the third opened fire and hit Hill in the chest several times. He was awarded the Distinguished Service Order (DSO) and Légion d'Honneur for his service in North Africa and then evacuated back to England. There he took command of 3rd Parachute Brigade in the newly formed 6th Airborne Division, and jumped with the brigade during Operation Tonga, the British airborne landings in Normandy on the night of 5/6 June. After nearly being killed on 6 June by an aircraft strafing his position, Hill commanded the brigade throughout the rest of the time it was in Normandy, once leading a counter-attack during a German assault and later winning the first bar to his DSO.
The division was withdrawn to England in September 1944, but briefly served in the Ardennes in December during the Battle of the Bulge. Hill then commanded 3rd Parachute Brigade during Operation Varsity, the Allied airborne assault over the River Rhine, where he was nearly killed by a glider containing his own personal Jeep. He then commandeered a motorcycle and rode alongside the brigade as 6th Airborne Division advanced from the Rhine to the River Elbe, at the end of which he was awarded a second bar to his DSO as well as the American Silver Star. After the war, he was briefly military governor of Copenhagen, for which he was awarded the King Haakon VII Liberty Cross, and also raised and commanded the 4th Parachute Brigade (Territorial Army). Retiring from the Army in 1949, he became involved in a number of charities and businesses before dying on 16 March 2006 (Source: Wikipedia)
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Dear Flickr Friends,
In April 2015, I will be celebrating my 10th Anniversary on Flickr. And, my memories include this gallery of photos which made it to Explore.
Thanks for stopping by
and God Bless,
hugs, Chris
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1. Thank God for Little Things, 2. Megumi... as a baby girl, 3. Every time..., 4. The Japanese green tea is ready!, 5. Youth..., 6. Recipe for a Happy Day, 7. New Year's Wish (1), 8. New Year's Wishes [1],
9. New Year's Wishes [2], 10. The joy of life, 11. The BEST gifts are tied with "Heartstrings!" {1}, 12. Taking time for love, 13. When the sun, 14. A choice..., 15. Celebration of Thanksgiving, 16. Laughing out loud.,
17. It takes a lifetime..., 18. When you wish upon a star..., 19. Hugs for luvmykatz, 20. Happy people..., 21. Now, Meg is a very happy 4 year old!, 22. Happy Birthday Megumi, 23. Find the finest joy, 24. Fountain of Gladness,
25. Sharing..., 26. Friends..., 27. Smiles help me..., 28. Kindnesses..., 29. Mizunomori (2), 30. Heartfelt moments..., 31. The real joy..., 32. Strength and resilience,
33. Believe in yourself, 34. If your gift..., 35. Cuddled up and relaxed..., 36. Goodness..., 37. Celebrating..., 38. Today..., 39. Enjoy the little things..., 40. Making it happen!,
41. Admiration..., 42. Making a new friend..., 43. Meiji Shrine's Inner Garden (Tokyo) [9], 44. an amaryllis, 45. Standing alone with thoughts of my own, 46. ~ Wishing you a Great Day! ~, 47. Springtime..., 48. This seems only like yesterday...,
49. Blueberry as a classy lookin' cowgirl kitty..., 50. Two lids made Meg's valley..., 51. the cherry promenade, 52. Meg... my professional inspector..., 53. Meg... her special smile, 54. Tableware Exhibition (2), 55. Meg - every new box is a new adventure!, 56. pink plum... another favorite,
57. Megumi - a happy young girl, 58. Meg on bird patrol!, 59. Megumi - catnip content..., 60. Megumi & Bird Watching, 61. Megumi - her choice of a pose, 62. Christmas Megumi..., 63. Christmas tree 2006, 64. Megumi cannot resist playing,
65. Megumi - a young profile, 66. Megumi's eyes, 67. Megumi - mailing box house, 68. Somewhere on the great world..., 69. Meg's new blanket, 70. Meg relaxing, 71. baby Megumi, 72. Meg...
Created with fd's Flickr Toys
The Kerala backwaters are a chain of brackish lagoons and lakes lying parallel to the Arabian Sea coast (known as the Malabar Coast) of Kerala state in southern India. The network includes five large lakes linked by canals, both manmade and natural, fed by 38 rivers, and extending virtually half the length of Kerala state. The backwaters were formed by the action of waves and shore currents creating low barrier islands across the mouths of the many rivers flowing down from the Western Ghats range.
The Kerala Backwaters are a network of interconnected canals, rivers, lakes and inlets, a labyrinthine system formed by more than 900 km of waterways, and sometimes compared to the American Bayou. In the midst of this landscape there are a number of towns and cities, which serve as the starting and end points of backwater cruises. National Waterway No. 3 from Kollam to Kottapuram, covers a distance of 205 km and runs almost parallel to the coast line of southern Kerala facilitating both cargo movement and backwater tourism.
The backwaters have a unique ecosystem - freshwater from the rivers meets the seawater from the Arabian Sea. In certain areas, such as the Vembanad Kayal, where a barrage has been built near Kumarakom, salt water from the sea is prevented from entering the deep inside, keeping the fresh water intact. Such fresh water is extensively used for irrigation purposes.
Many unique species of aquatic life including crabs, frogs and mudskippers, water birds such as terns, kingfishers, darters and cormorants, and animals such as otters and turtles live in and alongside the backwaters. Palm trees, pandanus shrubs, various leafy plants and bushes grow alongside the backwaters, providing a green hue to the surrounding landscape.
Vembanad Kayal is the largest of the lakes, covering an area of 200 km², and bordered by Alappuzha (Alleppey), Kottayam, and Ernakulam districts. The port of Kochi (Cochin) is located at the lake's outlet to the Arabian Sea. Alleppey, "Venice of the East", has a large network of canals that meander through the town. Vembanad is India’s longest lake.
HOUSE BOATS
The kettuvallams (Kerala houseboats) in the backwaters are one of the prominent tourist attractions in Kerala. More than 2000 kettuvallams ply the backwaters, 120 of them in Alappuzha. Kerala government has classified the tourist houseboats as Platinum, Gold and silver.
The kettuvallams were traditionally used as grain barges, to transport the rice harvested in the fertile fields alongside the backwaters. Thatched roof covers over wooden hulls, 30 m in length, provided protection from the elements. At some point in time the boats were used as living quarters by the royalty. Converted to accommodate tourists, the houseboats have become floating cottages having a sleeping area, with western-style toilets, a dining area and a sit out on the deck. Most tourists spend the night on a house boat. Food is cooked on board by the accompanying staff – mostly having a flavour of Kerala. The houseboats are of various patterns and can be hired as per the size of the family or visiting group. The living-dining room is usually open on at least three sides providing a grand view of the surroundings, including other boats, throughout the day when it is on the move. It is brought to a standstill at times of taking food and at night. After sunset, the boat crew provide burning coils to drive away mosquitoes. Ketuvallams are motorised but generally proceed at a slow speed for smooth travel. All ketuvallams have a generator and most bedrooms are air-conditioned. At times, as per demand of customers, electricity is switched off and lanterns are provided to create a rural setting.
While many ketuvalloms take tourists from a particular point and bring them back to around the same point next morning there are some specific cruises mostly in the Alappuzha area, such as the one night cruise from Alappuzha to Thotapally via Punnamada Lake two nights cruise from Alappuzha to Alumkavadi,[8] one night cruise from Alappuzha to Kidangara, and one night cruise from Alappuzha to Mankotta. There are numerous such cruises.
Beypore, located 10 km south of Kozhikode at the mouth of the Chaliyar River, is a famous fishing harbour, port and boat building centre. Beypore has a 1,500 year-tradition of boatbuilding. The skill of the local shipwrights and boat builders are widely sought after. There is a houseboat-building yard at Alumkadavu, in Ashtamudi Kayal near Kollam.
FERRY SERVICES
Regular ferry services connect most locations on both banks of the backwaters. The Kerala State Water Transport Department operates ferries for passengers as well as tourists. It is the cheapest mode of transport through the backwaters.
ECONOMIC SIGNIFICANCE
Connected by artificial canals, the backwaters form an economical means of transport, and a large local trade is carried on by inland navigation. Fishing, along with fish curing is an important industry.
Kerala backwaters have been used for centuries by the local people for transportation, fishing and agriculture. It has supported the efforts of the local people to earn a livelihood. In more recent times, agricultural efforts have been strengthened with reclamation of some backwater lands for rice growing, particularly in the Kuttanad area. Boat making has been a traditional craft, so has been the coir industry.
Kuttanad is crisscrossed with waterways that run alongside extensive paddy fields, as well as fields of cassava, banana and yam. A unique feature of Kuttanad is that many of these fields are below sea level and are surrounded by earthen embankments. The crops are grown on the low-lying ground and irrigated with fresh water from canal and waterways connected to Vembanad lake. The area is similar to the dikes of the Netherlands where land has been reclaimed from the sea and crops are grown.
WIKIPEDIA
www.allbendoregon.com/sunriver_oregon/
Located just 16 miles southwest of Bend off Highway 97, the beautiful resort community of Sunriver attracts visitors from all over who come to relax and enjoy a variety of outdoor recreation opportunities.
Overview
Sunriver, Oregon is one of the Northwest’s most popular year round vacation destinations. Approximately 16 miles southwest of Bend, the resort community of Sunriver offers world class golf and easy access to perhaps the best skiing in the Pacific Northwest. Additionally, visitors to Sunriver have a vast playground right outside their front door which includes hiking, biking, fishing, climbing, and whitewater rafting amidst the breathtaking scenery of Central Oregon.
Location
Sunriver, OR is located 16 miles southwest of Bend, just west of Highway 97.
Lodging and Services
Although there are no hotels in Sunriver, lodging options are plentiful. Visitors can stay at the beautiful Sunriver Resort or rent one of over 3,000 private homes or 1,000 condominiums. Dining options include a handful of restaurants and cares offering a variety of cuisine.
Activities
Winter Sports – Visitors to Sun River, Oregon can enjoy downhill skiing or snowboarding at nearby Mt. Bachelor Ski Resort. Cross country skiing, backcountry skiing, snowshoeing, and snowmobiling are also popular winter activities.
Hiking, Biking, Horseback Riding - During the warmer months, visitors can explore miles of trails in the surrounding area, or bike 35 miles of paved trails in Sunriver.
Fishing and Whitewater Rafting - The nearby Deschutes River is a popular place for fly fishing and whitewater rafting.
Golf - Sunriver Resort has three 18-hole championship golf courses, making it one of best places in the Northwest for golf.
Attractions
Newberry National Volcanic Monument – This beautiful monument covers over 55,500 acres northwest of Sunriver and has several lakes, fascinating lava flows, and interesting rock formations.
High Desert Museum – This museum has fascinating wildlife exhibits as well as authentic displays that depict life in Central Oregon back in the late 1800s.
Getting Here
It's really easy to get to Bend from Sunriver. Start by going east on S. Century Drive to Hwy 97. Turn north on Hwy 97, which goes right through Bend. Along the way you may glimpse some of the native wildlife, including deer, elk, coyotes, and eagles.
Share Your Thoughts
Royal Pines Integrated Golf Course. Originally designed by highly regarded Japanese golf course architect Tomojiro Maruyama, with new nine holes created in 2002 by Graham Marsh Golf Design, Royal Pines offers three unique golfing experiences on three distinct course layouts. Exemplary facilities also include a pro shop, daytime driving range, chipping and putting greens. Photography by Peter Sexty. View more at Marina Residences | Royal Pines Golf Resort
Hong Kong Government Department
The Hong Kong Police Force | HKP
Police Vehicles, Police Officers, Marine Police, Traffic Police, Police Stations. All Districts, Hong Kong
Special Units & Divisions include Counter Terrorism, Police Tactical Unit (PTU), National Security Bureau, Diplomatic Protection & Security, Commercial Crime, CID, Dog Unit, Wanted & Missing Persons, Cyber Security & Technology Crime Bureau, Organised Crime and Triad Bureau, Narcotics Bureau, Criminal Intelligence, The Bomb Squad (EOD), Public Relations, Criminal Records, Police Training College and the Auxiliary Police etc.
All relevant and extensive information about the Hong Kong Police Force is available on their website
It is very comprehensive, the Hong Kong Police Force has a highly organised structure.
All Hong Kong Police Vehicles use the AM licence plate ie 2 digits and up to 4 numbers | Police vehicles have different colours, normal Police vehicles are white with red and blue stripes, the Police Traffic Division vehicles are white with yellow and blue checkerboard design.
Amazingly the Police Force have their own superstitions as well, the majority of the licence plates on Police Vehicles have lucky number combinations involving the numbers 6,8, and 9 ! Basically 6 means easy life, 8 means wealth and 9 means long life - this is very much Hong Kong Culture. The Police also use unmarked vehicles extensively which are NOT identified by the AM mark.
The Police Museum at 27 Coombe Road at the Peak is also worth a visit, see details on the website listed above.
☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below
✚ www.j3consultantshongkong.com/j3c-blog
☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!
Hong Kong Government Department
The Hong Kong Police Force | HKP
Police Vehicles, Police Officers, Marine Police, Traffic Police, Police Stations. All Districts, Hong Kong
Special Units & Divisions include Counter Terrorism, Police Tactical Unit (PTU), National Security Bureau, Diplomatic Protection & Security, Commercial Crime, CID, Dog Unit, Wanted & Missing Persons, Cyber Security & Technology Crime Bureau, Organised Crime and Triad Bureau, Narcotics Bureau, Criminal Intelligence, The Bomb Squad (EOD), Public Relations, Criminal Records, Police Training College and the Auxiliary Police etc.
All relevant and extensive information about the Hong Kong Police Force is available on their website
It is very comprehensive, the Hong Kong Police Force has a highly organised structure.
All Hong Kong Police Vehicles use the AM licence plate ie 2 digits and up to 4 numbers | Police vehicles have different colours, normal Police vehicles are white with red and blue stripes, the Police Traffic Division vehicles are white with yellow and blue checkerboard design.
Amazingly the Police Force have their own superstitions as well, the majority of the licence plates on Police Vehicles have lucky number combinations involving the numbers 6,8, and 9 ! Basically 6 means easy life, 8 means wealth and 9 means long life - this is very much Hong Kong Culture. The Police also use unmarked vehicles extensively which are NOT identified by the AM mark.
The Police Museum at 27 Coombe Road at the Peak is also worth a visit, see details on the website listed above.
☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below
✚ www.j3consultantshongkong.com/j3c-blog
☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: Kathryn Rattray Photography
Dwelling in the west can bring many barriers to Muslims wishing to participate in activities that require exposer of the body e.g., one of these can include, swimming, which could be indoor or out of doors beach swimming.
As Muslim women and ladies require the need to cover their body and hair to the opposite sexual intercourse it can become very difficult to have interaction in recreational activities in a non Islamic country. Women can show up at ladies only swimming classes, however these are limited.
In turn this can have a actual physical and psychological affect on the physically lively Muslim females. One would be limited to the amount of exercise gained by the actual physical workout and due to the deficiency of social participance a possibility of social anxiety or despair can arise.
This deprivation can be more troublesome for the youthful Muslim child as it can have a tremendous affect in her tutorial development as the Government is fully commited to ensuring swimming takes place in schools. Swimming is a compulsory part of the current Countrywide Curriculum for PE and will remain a compulsory part of the new curriculum when it is released.
In a normal scenario the child would not participate as it would be likely against their religious beliefs. This would in turn cause further problems with parents, teachers and the principal as the regulation does not permit parents the right to withdraw their children from this statutory element of the Countrywide Curriculum.
A long time solution to the problem has arrived with many women/ladies opting for the modest Islamic swim suit. The satisfies are a way to cover modestly while not depriving oneself from taking part in such activities. Many of these costumes also meet the current swimming regulation standards and are approved by schools.
The satisfies come in many different styles and dimensions. You also have a choice of a costume consisting of 3-5 parts or opting for the more comfortable and light weight one piece suit. Schools and swimming centres tend to prefer the lighter costumes due to health and safety.
These costumes are becoming more readily available to buy on the internet and are now more socially accepted. Britain is vast advancing into a multicultural modern society that is coming closer to radicalising racial range and welcoming a more democratic civilisation. islamicmodestwear.com/index.php?main_page
The tall square tower of this marshland church leans considerably to the west.
Its oldest parts date from around 1150, this includes the western tower and arcades.
The church was extensively restored by Withers in 1886. The church is now redundant since 1973 and the care of the Churches Conservation Trust.
The church is built in a mix of materials, greenstone, limestone, red brick and render. The roof is of lead and slate.
Buttresses were added to the tower in the nineteenth century to halt the subsidence caused by marshy ground.
The top of the tower dates from the fifteenth century, as does the porch.
The porch has a pointed inner doorway from the fourteenth century. Above the porch door there are Shields bearing the emblems of the passion and crucifixion. There is an inscription "Situs est sanctum Johis' Grantham de Moulton, Pahoni istius Ecclesiae".
The south aisle arcade dates from circa 1200 with four bays plus a narrower bay to the west. There are round piers.
There is no north aisle.
Three mediaeval bells are on the floor which were rescued from Saint Botolph's church in Skidbrooke.
There is a fourteenth century screen of five panels and a similar screen to the south-east Chapel. There are traces of colour remaining on the wood..
The chancel has an unusual double south arcade with two mid-set twelfth century bays overlapping a thirteenth century bay.
The chancel has an aumbry to the north, and piscina to the south, both have triangular heads.
In the south chapel there is a fourteenth century carved stone reredos with grotesque heads. There is also a 16th century altar table.
The nave and south aisle have fifteenth century wooden tie beam roofs with carved bosses repaired in 1611.
There is an ornate Jacobean pulpit with carved panels and another 17th-century pulpit given by Oriel College Oxford.
The thirteenth century font has an octagonal bowl with four large grotesque heads at the base. It appears to sit on an inverted font of a later date.
Includes dress+ ginger cookie hat :)
If you're interested please send me an e-mail at: dollyboutiquee@gmail.com (NO FM please)
Hope you like it ♥♥♥
When couples dream of their perfect wedding destination abroad, their vision often includes escaping to a far-away place that offers all of the charms one could possibly desire for their Religious or Civil Ceremony. So, if you're looking at celebrating your wedding in Sicily, Taormina is a good choice.Taormina's beauty is uncontested. Some cities are known for their art treasures, others for their natural beauties; only a few, like Taormina, own both.Visitors to this magical yet relatively undiscovered island, leave with its images of sheer beauty, its cultural simplicity, the passion and warmth of the people and historical delights etched permanently in their memories.Within its ancient stone gates, the old town has fascinating archeological monuments and medieval homes. Magnificent views of the sea complete the picture.The city is located on a cliff top overlooking the deep blue of the never ending horizon reflected in a clear turquoise sea which surrounds the bays and beaches.In fact it is Sicily's number one tourist resort, boasting magnificent scenery, architecture and great local cuisine. It's no wonder tourists flock to Taormina every year Its rich culture and crystal clear sea and views of Mount Etna create a magical atmosphere. Taormina has endlessly winding medieval streets and tiny passages, each with its own secrets.Some of these intriguing places are secluded gardens hidden by stone walls; others are set on terraces overlooking the coast or in more public but equally pleasant squares.Taormina is beautiful by day but in the evenings its atmosphere is simply enchanting, whether you stroll the illuminated streets or indulge in the view of the coast over an authentic Sicilian dinner. Taormina's ancient Greek splendor, medieval charm and unique views will leave you with a lasting impression of Sicily.The climate is mild even in the winter, where it feels like eternal spring time. Its air is filled with the scent of orange and lemon blossoms. Steal away on an island retreat in beautiful Sicily, as it offers a taste of the traditional with a delicate touch of the exotic.There are several charming churches here in which to have a Catholic wedding, as well as Palazzo Santo Stefano for civil weddings, which takes an exquisitely charming medieval mood. Taormina's regal Norman Byzantine, Romanesque and Baroque churches offer a beautiful venue for a religious wedding.Couples may choose to exchange their wedding vows in any of these spectacular locations!The whole Taormina experience leaves visitors breathless and enthusiastic to plan their dream wedding here.
Make the dream come true for you...
www.facebook.com/pages/Weddinginsicily-Taormina/475641052...
At Pevensey Castle
Pevensey Castle: a Saxon Shore fort, Norman defences, a medieval enclosure castle, and later associated remains
The monument includes Anderita Saxon Shore fort, traces of later, Norman defences, an enclosure castle, a 16th century gun emplacement and World War II defences situated on a low spur of sand and clay which now lies around 2km north west of the present East Sussex coastline at Pevensey. During the Roman and medieval periods the spur formed a peninsula projecting into a tidal lagoon and marshland, but coastal deposition and land reclamation have gradually built up the ground around it so that it is now completely land-locked. The roughly oval, north east-south west aligned Roman fort is the earliest of the structures which make up the monument and has been dated to the first half of the fourth century AD. Covering almost 4ha, the fort survives in the form of substantial ruins and buried remains. It is enclosed by a massive defensive wall with a flint and sandstone rubble core faced by coursed greensand and ironstone blocks, interspersed with red tile bonding courses. The whole is up to 3.7m thick and survives to a height of up to 8.1m. The wall was originally topped by a wall walk and parapet. Part excavation in 1906-8 showed that the wall was constructed on footings of rammed chalk and flints underpinned by oak piles and held together by a framework of wooden beams. Investigation of the internal face indicated that this was stepped upwards from a wide base so as to provide extra strength and support. Despite these precautions, a landslip on the south eastern side of the fort has resulted in the destruction of a c.180m length of the perimeter walls and, although fragments of the fallen masonry do survive, most have been removed over the years. Smaller sections of wall have also collapsed along the north western and eastern stretches. The defensive strength provided by the perimeter wall was enhanced by irregularly-spaced, externally projecting semicircular bastions with diameters of around 5m. There were originally at least 15 of these, of which 10 survive today. The fort was entered from its south western, landward approach by way of the main gateway. In front of this a protective ditch 5.5m wide was dug, and, although this became infilled over the years, a 40m stretch located towards its south eastern end has been recut and exposed. The ditch would have been spanned originally by a wooden bridge, although this no longer survives. The main gateway takes the form of a rectangular gatehouse set back between two solid semicircular bastions 8m apart. The 2.7m wide, originally arched entrance is flanked by two oblong guardrooms and the whole gateway structure projects beyond the inner face of the perimeter wall into the fort and is thought to have been originally two or even three storeys high. On the eastern side of the fort is a more simply designed subsidiary gateway, originally a 3m wide archway entrance, giving access to part of the adjacent Roman harbour, now overlain by Pevensey village. The extant archway is a modern reconstruction of the Norman rebuilding of the original entrance. Traces of a wooden causeway which led from it into the fort have been found during partial excavation. Midway along the north western stretch of perimeter wall is a now ruined postern c.2m wide, approached by a curved passage set within the wall. Part excavation between 1906-1908 indicated that the internal buildings which housed the garrison of up to 1,000 men, along with their livestock and supplies, were constructed of timber infilled with wattle and daub. A c.1m sq timber-lined Roman well was found in the south western sector of the fort, at the bottom of which were the remains of the wooden bucket with rope still attached. The well was found to have been filled with rubbish in Roman times and the presence of the bones of cattle, sheep, red deer, wild boar, wild birds, domestic dogs and cats, along with sea shells, gives some indication of the diet and lifestyle of the fort's original inhabitants. Anderita is thought to have been abandoned by its garrison by the latter half of the 4th century AD, and although little is known of its subsequent history until the 11th century, the Anglo-Saxon Chronicle records a massacre of Britons by the invading Saxons at the fort in AD 491. The Bayeux Tapestry states that William the Conquerer landed at Pevensey in 1066, and the Norman army are believed to have made use of the Roman fort as one of their first armed camps. The defences at Pevensey and the surrounding land were granted to King William's half-brother Robert, Count of Mortain. The medieval defences then went through at least 300 years of development, culminating in the construction of a stone built enclosure castle within the largely intact walls of the earlier Roman fort. It is thought that the first Norman defences took the form of a wooden palisade surrounded by a bank and ditch, and a c.40m length of partially infilled ditch up to 9m wide which survives across the north eastern sector of the earlier fort may indicate their original extent. Limited excavations in 1993-94 showed that the ground surface in the south eastern sector of the fort, in the vicinity of the later stone-built keep, was artificially raised some time before 1200, suggesting that a motte may also have been constructed. The original Roman gateways were rebuilt and a new ditch dug in front of the south western gate. Most of the Norman defences and interior wooden buildings will now survive in buried form beneath the later medieval castle, although herringbone-pattern repairs to the Roman masonry, by then serving as the outer bailey of the medieval defences, also date from this time. Around 1100 the defences were strengthened and the accommodation improved by the addition of a masonry keep in the south eastern sector of the earlier fort. The subject of a complex history of alteration, collapse and repair, the keep utilises part of the earlier, Roman perimeter wall and bastions. It takes the form of a rectangular block measuring c.16.8m by c.9m internally, reinforced by apsidal projections on all sides. Now surviving in ruined form up to first floor level, the keep originally took the form of a tall tower with an entrance on the first floor. A rectangular building measuring 7.6m by 6m was later constructed in the south eastern angle between the keep and the Roman wall. At around 1200 work began on the construction of a smaller, stone-built inner bailey in the south eastern sector of the earlier fort. An L-shaped ditch around 20m wide was dug to define the new enclosure, and this retains water in its northern arm. The material excavated from the ditch and from the destruction of the earlier bank was spread over much of the outer bailey to a depth of up to 1.5m. The ditch was recut during extensive renovations carried out during the early 20th century. The first structure to be built in this phase was the gatehouse to the south west which has an arched entrance between twin, semicircular external towers, now ruined. The basement chambers beneath each tower have ashlar-faced walls and barrel-vaulted ceilings, the southern chamber being entered by way of a newel staircase, the northern by a trapdoor. Both were used to house prisoners. Many subsequent alterations included the replacement, during the 15th century, of the wooden bridge over the outer ditch by a stone causeway. The originally embattled curtain wall enclosing the inner bailey was built within the ditch and inner berm around 1250. This survives almost to its full original height and is faced with coursed Greensand ashlar. Three semicircular external towers provided flanking cover from the narrow embrasures which pierce their walls. Each has a narrow staircase to a basement, a branch staircase off it into the ditch and a room and garderobe, or latrine, at ground floor level. Upper rooms were entered by way of the wall walk and were heated by fireplaces. The basement of the northernmost tower has two rib-vaulted bays, the keeled ribs resting on stiff-leaf corbels. The interior castle buildings continued to be built mainly of wood and these will survive in buried form, although the stone foundations of a chapel were exposed during partial excavation of the northern sector of the inner bailey. Around 20m south east of the chapel is a large stone-lined well at least 15.5m deep, and near this is a pile of medieval stone missile-balls, a selection of those recovered from the ditch. These were thrown from trebuchets during the four sieges of the castle. William, Count of Mortain forfeited Pevensey after an unsuccessful rebellion against Henry I in 1101 and the castle, which remained in the royal gift until the later Middle Ages, passed into the hands of the de Aquila family. The most famous siege took place in 1264-65 when the supporters of Henry III, fleeing from their defeat by the Barons at Lewes, took refuge in the castle. In 1372 the castle was given to John of Gaunt, and during his period of office was used to imprison James I, King of Scotland, who had been seized in 1406, and Joan, Queen of Navarre, accused of witchcraft by her stepson, Henry V. By 1300, the sea had gradually begun to recede from around the castle and its military importance declined as a result. Contemporary records show that the castle walls were constantly in need of expensive repair and by the end of the 14th century were not being properly maintained, although the roof leads were kept intact until the middle of the 15th century. By 1500 the castle had ceased to be inhabited and fell rapidly into decay. The threat of the Spanish Armada led to some renewed interest in the defensive value of the site, and a survey of 1587 records that the castle housed two demi-culverins, or heavy guns. These were sited on the contemporary, south east orientated, M-shaped earthen gun emplacement situated in the outer bailey around 90m north east of the main Roman gateway. This takes the form of a raised level platform c.20m long bounded on the seaward side by a slight bank c.0.4m high and around 3m wide. One of the cast iron guns, manufactured in the East Sussex Weald, is now housed within the inner bailey on a modern replica carriage. From the 17th century the castle passed through the hands of various private owners. Valued as a picturesque ruin during the 18th and 19th centuries, it features in many contemporary engravings and illustrations. In 1925 the Duke of Devonshire presented the monument to the state, and extensive repairs began with a view to opening the monument to the public. These were interrupted by the outbreak of World War II, when the castle resumed its original military purpose of protecting the south coast. The castle was refortified in May 1940 as an observation and command post. It was continuously occupied by regular troops, including Canadian forces and the United States Army Air Corps, who used it as a radio direction centre, and by the Home Guard until 1944. The World War II defences include two pillboxes and three machine gun posts of concrete faced with rubble and flints, carefully concealed and camouflaged within the earlier Roman and medieval fabric. An internal tower was built just to the south of the Roman east gateway and a blockhouse housing anti-tank weapons was built in front of the main Roman gateway. The blockhouse no longer survives. Modifications carried out to the medieval mural towers included lining the interiors with brick and inserting wooden floors. In 1945 the monument was returned to peaceful use and is now in the guardianship of the Secretary of State and open to the public.
[Historic England]
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: Kathryn Rattray Photography
Corbridge is a village in Northumberland, England, 16 miles (26 km) west of Newcastle and 4 miles (6 km) east of Hexham. Villages nearby include Halton, Acomb, Aydon and Sandhoe.
Corbridge was known to the Romans as something like Corstopitum or Coriosopitum, and wooden writing tablets found at the Roman fort of Vindolanda nearby suggest it was probably locally called Coria (meaning a tribal centre). According to Bethany Fox, the early attestations of the English name Corbridge "show variation between Cor- and Col-, as in the earliest two forms, Corebricg and Colebruge, and there has been extensive debate about what its etymology may be. Some relationship with the Roman name Corstopitum seems clear, however".
Coria was the most northerly town in the Roman Empire, lying at the junction of the Stanegate and Dere Street, the two most important local Roman roads.
The first fort was established c. AD 85, although there was a slightly earlier base nearby at Beaufront Red House. By the middle of the 2nd century AD, the fort was replaced by a town with two walled military compounds, which were garrisoned until the end of the Roman occupation of the site. The best-known finds from the site include the stone Corbridge Lion and the Corbridge Hoard of Roman armour and sundry other items. In Rudyard Kipling's Puck of Pook's Hill, the town of Hunno on the Wall is probably based on Corstopitum.
The Roman Town is now managed by English Heritage on behalf of HM Government. The site has been largely excavated and features a large museum and shop. The fort is the top-rated attraction in Corbridge and is open daily between 10 and 6 in the summer and at weekends between 10 and 4 in the winter.
The Church of England parish church of Saint Andrew is thought to have been consecrated in 676. Saint Wilfrid is supposed to have had the church built at the same time as Hexham Abbey. It has been altered several times since, with a Norman doorway, and a lychgate built as a First World War memorial. The Church is built largely from stone taken from Hadrian's Wall to the north, and the entrance to the Church is through glass doors given by Rowan Atkinson (known for Blackadder and Mr. Bean) and etched in memory of his mother, a parishioner.
There are only three fortified vicarages in the county, and one of these is in Corbridge. Built in the 14th century, the Vicar's Pele is to be found in the south-east corner of the churchyard, and has walls 1.3 metres (4 ft) in thickness. The register for St Andrew's dates from 1657. Later on in the town's history, Wesleyan, Primitive and Free Methodist chapels were all built too.
Even older than the Vicar's Pele is Corbridge Low Hall, dating from the late 13th or early 14th century, with one end converted to a pele tower in the 15th century. The main block was remodelled in the 16th and 17th centuries, and the building restored c. 1890. Corbridge Town Hall was designed by Frank Emley and completed in 1887.
A number of fine Victorian mansions were developed on Prospect Hill to house successful industrialists and local businessmen in the late 19th century, after the arrival of the railway facilitated commuting to Newcastle.
Corbridge suffered, as did many other settlements in the county, from the border warfare which was particularly prevalent between 1300 and 1700. Raids were commonplace, and it was not unusual for the livestock to be brought into the town at night and a watch placed to guard either end of the street for marauders. A bridge over the Tyne was built in the 13th century, but this original has not survived. The present bridge, an impressive stone structure with seven arches, was erected in 1674.
Corbridge is in the parliamentary constituency of Hexham, Guy Opperman of the Conservative Party is the Member of Parliament.
Prior to Brexit, for the European Parliament its residents voted to elect MEP's for the North East England constituency.
For Local Government purposes it belongs to Northumberland County Council a unitary authority. An electoral ward of the same name exists. This ward includes Corbridge and Sandhoe. It had a total population taken at the 2011 census of 4,191. The Parish itself is run by Corbridge Parish Council which elects 10 Councillors on 4 year terms; one of them is selected by members of the council to be Chairman and Vice Chairman respectively on 1 year terms. They meet on the fourth Wednesday of every month. The Meetings take place at Corbridge Parish Hall.
Corbridge is bypassed to the north by the A69 road, linking it to Newcastle and Carlisle. It is also linked to Newcastle and the A1 by the A695 which passes about 1 mile (1.6 km) away on the south side of the River Tyne.
The 685 and 602 bus routes link the town to Tyneside and Carlisle. Service 685 also provides a link to the town of Hexham.
The town is served by Corbridge railway station on the Newcastle & Carlisle Railway, also known as the Tyne Valley line. The line was opened in 1838, and links the city of Newcastle upon Tyne in Tyne and Wear with Carlisle in Cumbria. The line follows the course of the River Tyne through Northumberland.
Passenger services on the Tyne Valley Line are operated by Northern and ScotRail. The line is also heavily used for freight.
The railway station is about 1 mile (1.6 km) away on the south side of the River Tyne.
Stagshaw Bank Fair, traditionally held on 4 July, was one of the most famous of the country fairs. It included a huge sale of stock, and was proclaimed each year by the bailiff to the Duke of Northumberland. The Northumberland County Show, an agricultural event, was held in the fields outside Corbridge each year before moving to Bywell in 2013.
The Corbridge Steam Fair and Vintage Rally is held every year in June to celebrate steam engines. There are also classic cars, trucks and tractors.
Corbridge Festival has taken place since 2011 and is usually held on the last weekend of June or the first in July. Headliners have included The Coral and Fun Lovin' Criminals. The festival now includes three stages and up to 50 bands.
A Midsummer’s Evening in Corbridge marks the summer solstice each year with performers, stalls and late night shopping in the village from 4pm to 9pm.
Each year on the first Monday in December, the village hosts Christmas in Corbridge with carol singing, food stalls and late night shopping.
Notable people
Born at Corbridge
Alan Brown (footballer) (1914–1996), professional footballer and manager
Mary Flora Bell (born 1957), woman who at age 11 was convicted of the manslaughter of two younger boys
Steve Bruce (born 1960), professional footballer and manager
John Blackburn (1923–1993), thriller writer
Maggie Telfer (1959–2023), health activist
Lived at Corbridge
Dame Catherine Cookson (1906–1998), author
Carol Malia, BBC Look North presenter
Alan Pardew (born 1961), professional footballer and manager
Rachel Unthank, Folk Musician
Ruth Ainsworth (1908–1984), children's writer of the "Rufty Tufty Golliwog" series
Northumberland is a ceremonial county in North East England, bordering Scotland. It is bordered by the Scottish Borders to the north, the North Sea to the east, Tyne and Wear and County Durham to the south, and Cumbria to the west. The town of Blyth is the largest settlement.
The county has an area of 5,013 km2 (1,936 sq mi) and a population of 320,274, making it the least-densely populated county in England. The south-east contains the largest towns: Blyth (37,339), Cramlington (27,683), Ashington (27,670), and Morpeth (14,304), which is the administrative centre. The remainder of the county is rural, and the largest towns are Berwick-upon-Tweed (12,043) in the far north and Hexham (13,097) in the west. For local government purposes the county is a unitary authority area. The county historically included the parts of Tyne and Wear north of the River Tyne.
The west of Northumberland contains part of the Cheviot Hills and North Pennines, while to the east the land becomes flatter before reaching the coast. The Cheviot (815 m (2,674 ft)), after which the range of hills is named, is the county's highest point. The county contains the source of the River North Tyne and much of the South Tyne; near Hexham they combine to form the Tyne, which exits into Tyne and Wear shortly downstream. The other major rivers in Northumberland are, from south to north, the Blyth, Coquet, Aln, Wansbeck and Tweed, the last of which forms part of the Scottish border. The county contains Northumberland National Park and two national landscapes: the Northumberland Coast and part of the North Pennines.
Much of the county's history has been defined by its position on a border. In the Roman era most of the county lay north of Hadrian's Wall, and the region was contested between England and Scotland into the Early Modern era, leading to the construction of many castles, peel towers and bastle houses, and the early modern fortifications at Berwick-upon-Tweed. Northumberland is also associated with Celtic Christianity, particularly the tidal island of Lindisfarne. During the Industrial Revolution the area had significant coal mining, shipbuilding, and armaments industries.
Northumberland, England's northernmost county, is a land where Roman occupiers once guarded a walled frontier, Anglian invaders fought with Celtic natives, and Norman lords built castles to suppress rebellion and defend a contested border with Scotland. The present-day county is a vestige of an independent kingdom that once stretched from Edinburgh to the Humber, hence its name, meaning literally 'north of the Humber'.[1] Reflecting its tumultuous past, Northumberland has more castles than any other county in England, and the greatest number of recognised battle sites. Once an economically important region that supplied much of the coal that powered the industrial revolution, Northumberland is now a primarily rural county with a small and gradually shrinking population.
Prehistory
As attested by many instances of rock art, the Northumberland region has a rich prehistory. Archeologists have studied a Mesolithic structure at Howick, which dates to 7500 BC and was identified as Britain's oldest house until it lost this title in 2010 when the discovery of the even older Star Carr house in North Yorkshire was announced, which dates to 8770 BC. They have also found tools, ornaments, building structures and cairns dating to the bronze and iron ages, when the area was occupied by Brythonic Celtic peoples who had migrated from continental Europe, most likely the Votadini whose territory stretched from Edinburgh and the Firth of Forth to Northumberland. It is not clear where the boundary between the Votadini and the other large tribe, the Brigantes, was, although it probably frequently shifted as a result of wars and as smaller tribes and communities changed allegiances. Unlike neighbouring tribes, Votadini farms were surrounded by large walls, banks and ditches and the people made offerings of fine metal objects, but never wore massive armlets. There are also at least three very large hillforts in their territory (Yeavering Bell, Eildon Hill and Traprain Law, the latter two now in Scotland), each was located on the top of a prominent hill or mountain. The hillforts may have been used for over a thousand years by this time as places of refuge and as places for meetings for political and religious ceremonies. Duddo Five Stones in North Northumberland and the Goatstones near Hadrian's Wall are stone circles dating from the Bronze Age.
Roman occupation
When Gnaeus Julius Agricola was appointed Roman governor of Britain in 78 AD, most of northern Britain was still controlled by native British tribes. During his governorship Agricola extended Roman control north of Eboracum (York) and into what is now Scotland. Roman settlements, garrisons and roads were established throughout the Northumberland region.
The northern frontier of the Roman occupation fluctuated between Pons Aelius (now Newcastle) and the Forth. Hadrian's Wall was completed by about 130 AD, to define and defend the northern boundary of Roman Britain. By 142, the Romans had completed the Antonine Wall, a more northerly defensive border lying between the Forth and Clyde. However, by 164 they abandoned the Antonine Wall to consolidate defences at Hadrian's Wall.
Two important Roman roads in the region were the Stanegate and Dere Street, the latter extending through the Cheviot Hills to locations well north of the Tweed. Located at the intersection of these two roads, Coria (Corbridge), a Roman supply-base, was the most northerly large town in the Roman Empire. The Roman forts of Vercovicium (Housesteads) on Hadrian's Wall, and Vindolanda (Chesterholm) built to guard the Stanegate, had extensive civil settlements surrounding them.
The Celtic peoples living in the region between the Tyne and the Forth were known to the Romans as the Votadini. When not under direct Roman rule, they functioned as a friendly client kingdom, a somewhat porous buffer against the more warlike Picts to the north.
The gradual Roman withdrawal from Britain in the 5th century led to a poorly documented age of conflict and chaos as different peoples contested territories in northern Britain.
Archaeology
Nearly 2000-year-old Roman boxing gloves were uncovered at Vindolanda in 2017 by the Vidolanda Trust experts led by Dr Andrew Birley. According to the Guardian, being similar in style and function to the full-hand modern boxing gloves, these two gloves found at Vindolanda look like leather bands date back to 120 AD. It is suggested that based on their difference from gladiator gloves warriors using this type of gloves had no purpose to kill each other. These gloves were probably used in a sport for promoting fighting skills. The gloves are currently displayed at Vindolanda's museum.
Anglian Kingdoms of Deira, Bernicia and Northumbria
Conquests by Anglian invaders led to the establishment of the kingdoms of Deira and Bernicia. The first Anglian settlement was effected in 547 by Ida, who, accompanied by his six sons, pushed through the narrow strip of territory between the Cheviots and the sea, and set up a fortress at Bamburgh, which became the royal seat of the Bernician kings. About the end of the 6th century Bernicia was first united with the rival kingdom of Deira under the rule of Æthelfrith of Northumbria, and the district between the Humber and the Forth became known as the kingdom of Northumbria.
After Æthelfrith was killed in battle around 616, Edwin of Deira became king of Northumbria. Æthelfrith's son Oswald fled northwest to the Gaelic kingdom of Dál Riata where he was converted to Christianity by the monks of Iona. Meanwhile, Paulinus, the first bishop of York, converted King Edwin to Roman Christianity and began an extensive program of conversion and baptism. By his time the kingdom must have reached the west coast, as Edwin is said to have conquered the islands of Anglesey and Man. Under Edwin the Northumbrian kingdom became the chief power in Britain. However, when Cadwallon ap Cadfan defeated Edwin at Hatfield Chase in 633, Northumbria was divided into the former kingdoms of Bernicia and Deira and Christianity suffered a temporary decline.
In 634, Oswald defeated Cadwallon ap Cadfan at the Battle of Heavenfield, resulting in the re-unification of Northumbria. Oswald re-established Christianity in the kingdom and assigned a bishopric at Hexham, where Wilfrid erected a famous early English church. Reunification was followed by a period of Northumbrian expansion into Pictish territory and growing dominance over the Celtic kingdoms of Dál Riata and Strathclyde to the west. Northumbrian encroachments were abruptly curtailed in 685, when Ecgfrith suffered complete defeat by a Pictish force at the Battle of Nechtansmere.
Monastic culture
When Saint Aidan came at the request of Oswald to preach to the Northumbrians he chose the island of Lindisfarne as the site of his church and monastery, and made it the head of the diocese which he founded in 635. For some years the see continued in peace, numbering among its bishops Saint Cuthbert, but in 793 Vikings landed on the island and burnt the settlement, killing many of the monks. The survivors, however, rebuilt the church and continued to live there until 883, when, through fear of a second invasion of the Danes, they fled inland, taking with them the body of Cuthbert and other holy relics.
Against this background, the monasteries of Northumbria developed some remarkably influential cultural products. Cædmon, a monk at Whitby Abbey, authored one of the earliest surviving examples of Old English poetry some time before 680. The Lindisfarne Gospels, an early example of insular art, is attributed to Eadfrith, the bishop of Lindisfarne from 698 to 721. Stenton (1971, p. 191) describes the book as follows.
In mere script it is no more than an admirable example of a noble style, and the figure drawing of its illustrations, though probably based on classical models, has more than a touch of naïveté. Its unique importance is due to the beauty and astonishing intricacy of its decoration. The nature of its ornament connects it very closely with a group of Irish manuscripts of which the Book of Kells is the most famous.
Bede's writing, at the Northumbrian monasteries at Wearmouth and Jarrow, gained him a reputation as the most learned scholar of his age. His work is notable for both its breadth (encompassing history, theology, science and literature) and quality, exemplified by the rigorous use of citation. Bede's most famous work is Ecclesiastical History of the English People, which is regarded as a highly influential early model of historical scholarship.
Earldom of Northumbria
Main article: Earl of Northumbria
The kingdom of Northumbria ceased to exist in 927, when it was incorporated into England as an earldom by Athelstan, the first king of a united England[citation needed].. In 937, Athelstan's victory over a combined Norse-Celtic force in the battle of Brunanburh secured England's control of its northern territory.
The Scottish king Indulf captured Edinburgh in 954, which thenceforth remained in possession of the Scots. His successors made repeated attempts to extend their territory southwards. Malcolm II was finally successful, when, in 1018, he annihilated the Northumbrian army at Carham on the Tweed, and Eadulf the earl of Northumbria ceded all his territory to the north of that river as the price of peace. Henceforth Lothian, consisting of the former region of Northumbria between the Forth and the Tweed, remained in possession of the Scottish kings.
The term Northumberland was first recorded in its contracted modern sense in 1065 in an entry in the Anglo-Saxon Chronicle relating to a rebellion against Tostig Godwinson.
Norman Conquest
The vigorous resistance of Northumbria to William the Conqueror was punished by ruthless harrying, mostly south of the River Tees. As recounted by the Anglo-Saxon Chronicle:
A.D. 1068. This year King William gave Earl Robert the earldom over Northumberland; but the landsmen attacked him in the town of Durham, and slew him, and nine hundred men with him. Soon afterwards Edgar Etheling came with all the Northumbrians to York; and the townsmen made a treaty with him: but King William came from the South unawares on them with a large army, and put them to flight, and slew on the spot those who could not escape; which were many hundred men; and plundered the town. St. Peter's minster he made a profanation, and all other places also he despoiled and trampled upon; and the ethelling went back again to Scotland.
The Normans rebuilt the Anglian monasteries of Lindisfarne, Hexham and Tynemouth, and founded Norman abbeys at Newminster (1139), Alnwick (1147), Brinkburn (1180), Hulne, and Blanchland. Castles were built at Newcastle (1080), Alnwick (1096), Bamburgh (1131), Harbottle (1157), Prudhoe (1172), Warkworth (1205), Chillingham, Ford (1287), Dunstanburgh (1313), Morpeth, Langley (1350), Wark on Tweed and Norham (1121), the latter an enclave of the palatine bishops of Durham.
Northumberland county is not mentioned in the Domesday Survey, but the account of the issues of the county, as rendered by Odard the sheriff, is entered in the Great Roll of the Exchequer for 1131.
In 1237, Scotland renounced claims to Northumberland county in the Treaty of York.
During the reign of Edward I (1272–1307), the county of Northumberland was the district between the Tees and the Tweed, and had within it several scattered liberties subject to other powers: Durham, Sadberge, Bedlingtonshire, and Norhamshire belonging to the bishop of Durham; Hexhamshire to the archbishop of York; Tynedale to the king of Scotland; Emildon to the earl of Lancaster; and Redesdale to Gilbert de Umfraville, Earl of Angus. These franchises were exempt from the ordinary jurisdiction of the shire. Over time, some were incorporated within the county: Tynedale in 1495; Hexhamshire in 1572; and Norhamshire, Islandshire and Bedlingtonshire by the Counties (Detached Parts) Act 1844.
Council of the North
The county court for Northumberland was held at different times at Newcastle, Alnwick and Morpeth, until by statute of 1549 it was ordered that the court should thenceforth be held in the town and castle of Alnwick. Under the same statute the sheriffs of Northumberland, who had been in the habit of appropriating the issues of the county to their private use, were required thereafter to deliver in their accounts to the Exchequer in the same manner as the sheriffs of other counties.
Border wars, reivers and rebels
From the Norman Conquest until the union of England and Scotland under James I and VI, Northumberland was the scene of perpetual inroads and devastations by the Scots. Norham, Alnwick and Wark were captured by David I of Scotland in the wars of Stephen's reign. In 1174, during his invasion of Northumbria, William I of Scotland, also known as William the Lion, was captured by a party of about four hundred mounted knights, led by Ranulf de Glanvill.[citation needed] This incident became known as the Battle of Alnwick. In 1295, Robert de Ros and the earls of Athol and Menteith ravaged Redesdale, Coquetdale and Tynedale. In 1314 the county was ravaged by king Robert Bruce. And so dire was the Scottish threat in 1382, that by special enactment the earl of Northumberland was ordered to remain on his estates to protect the border. In 1388, Henry Percy was taken prisoner and 1500 of his men slain at the battle of Otterburn, immortalised in the ballad of Chevy Chase.
Alnwick, Bamburgh and Dunstanburgh were garrisoned for the Lancastrian cause in 1462, but after the Yorkist victories of Hexham and Hedgley Moor in 1464, Alnwick and Dunstanburgh surrendered, and Bamburgh was taken by storm.
In September 1513, King James IV of Scotland was killed at the Battle of Flodden on Branxton Moor.
Roman Catholic support in Northumberland for Mary, Queen of Scots, led to the Rising of the North in 1569.
Harbottle
Border Reivers
Peel tower
Union and Civil War
After uniting the English and Scottish thrones, James VI and I sharply curbed the lawlessness of the border reivers and brought relative peace to the region. There were Church of Scotland congregations in Northumberland in the 17th and 18th centuries.
During the Civil War of the 17th century, Newcastle was garrisoned for the king by the earl of Newcastle, but in 1644 it was captured by the Scots under the earl of Leven, and in 1646 Charles I was led there a captive under the charge of David Leslie.
Many of the chief Northumberland families were ruined in the Jacobite rebellion of 1715.
Industrialisation
The mineral resources of the area appear to have been exploited to some extent from remote times. It is certain that coal was used by the Romans in Northumberland, and some coal ornaments found at Angerton have been attributed to the 7th century. In a 13th-century grant to Newminster Abbey a road for the conveyance of sea coal from the shore about Blyth is mentioned, and the Blyth coal field was worked throughout the 14th and 15th centuries. The coal trade on the Tyne did not exist to any extent before the 13th century, but from that period it developed rapidly, and Newcastle acquired the monopoly of the river shipping and coal trade. Lead was exported from Newcastle in the 12th century, probably from Hexhamshire, the lead mines of which were very prosperous throughout the 16th and 17th centuries. In a charter from Richard I to Hugh de Puiset creating him earl of Northumberland, mines of silver and iron are mentioned. A salt pan is mentioned at Warkworth in the 12th century; in the 13th century the salt industry flourished at the mouth of the river Blyth, and in the 15th century formed the principal occupation of the inhabitants of North and South Shields. In the reign of Elizabeth I, glass factories were set up at Newcastle by foreign refugees, and the industry spread rapidly along the Tyne. Tanning, both of leather and of nets, was largely practised in the 13th century, and the salmon fisheries in the Tyne were famous in the reign of Henry I.
John Smeaton designed the Coldstream Bridge and a bridge at Hexham.
Stephenson's Rocket
Invention of the steam turbine by Charles Algernon Parsons
Almost forgot to include a picture of our dear old Volkswagen in the dark blue set! It really is a special vehicle, 17 years old already, and on its last legs, sadly. It was actually manufactured in Mexico, not Germany, and bought in Springfield, VA. We were spending a year in the US, and Finnish legislation allows you to import a tex-free car if you spend a whole year abroad. Naturally we jumped at the chance as we would have paid double the price with the excruciating Finnish car tax! My husband drove the car all the way down to Florida, to be shipped to Finland, which took a whole month! It's been a reliable delight to drive all these years - and still not half bad looking, especially after my husband gave it a wash this afternoon.
Pity that we couldn't keep our original, special US licence plate on it!
Dessima Williams, (second from left) Permanent Representative of Grenada to the United Nations, speaks at the UN Women Leaders Forum ahead of the Rio+20 UN Conference on Sustainable Development in Rio de Janeiro, Brazil.
Panelists include, from left: Penny Williams, Global Ambassador for Women and Girls for Australia; Dessima Williams, Permanent Representative of Grenada to the United Nations; Maria das Graças Silva Foster, Chief Executive Officer Petrobras; Achim Steiner, Executive Director United Nations Environment Programme (UNEP); Yassine Fall, Chief of the Economic Empowerment Section at UNWomen
Photo Credit: UN Women/Fabricio Barreto
U.S. Capitol rotunda restoration work includes removing hazardous materials (such as lead paint), restoring ironwork, upgrading electrical and mechanical systems, installing new lighting and repainting to historically appropriate colors will begin. Full project details are at www.aoc.gov/rotunda.
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City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.
The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.
Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.
Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.
Cotton-top Tamarin (Saguinus oedipus)
The cotton-top tamarin (Saguinus oedipus) is a small New World monkey weighing less than 0.5 kg (1.1 lb). One of the smallest primates, the cotton-top tamarin is easily recognized by the long, white sagittal crest extending from its forehead to its shoulders. The species is found in tropical forest edges and secondary forests in northwestern Colombia, where it is arboreal and diurnal. Its diet includes insects and plant exudates, and it is an important seed disperser in the tropical ecosystem.
The cotton-top tamarin displays a wide variety of social behaviors. In particular, groups form a clear dominance hierarchy where only dominant pairs breed. The female normally gives birth to twins and uses pheromones to prevent other females in the group from breeding. These tamarins have been extensively studied for their high level of cooperative care, as well as altruistic and spiteful behaviors. Communication between cotton-top tamarins is sophisticated and shows evidence of grammatical structure, a language feature that must be acquired.
Up to 40,000 cotton-top tamarins are thought to have been caught and exported for use in biomedical research before 1976, when CITES gave them the highest level of protection and all international trade was banned. Now, the species is at risk due to large-scale habitat destruction, as the lowland forest in northwestern Colombia where the cotton-top tamarin is found has been reduced to 5% of its previous area. It is currently classified as critically endangered and is one of the rarest primates in the world, with only 6,000 individuals left in the wild.
Taxonomy and naming
S. oedipus has the common names "cotton-top tamarin" and "cotton-headed tamarin" in English. Its name comes from the white hair that spans its head and flows down past the neck. In Spanish, it is commonly called bichichi, tití pielroja, "tití blanco, tití cabeza blanca, or tití leoncito. In German-speaking areas, the cotton-top tamarin is commonly known as Lisztaffe (literally "Liszt monkey") most likely due to the resemblance of its crest to the hairstyle of Hungarian composer and piano virtuoso Franz Liszt.
The species was first described by Linnaeus in 1758 as Simia oedipus. Linnaeus chose the species name oedipus, which means swollen foot, but as the species does not have particularly large feet, it is unknown why he chose this name. (Linnaeus often selected names from mythology without any particular rationale, and he may have used the name of Oedipus, the mythical Greek king of Thebes, more or less arbitrarily.) In 1977, Philip Hershkovitz performed a taxonomic analysis of the species based on fur coloration patterns, cranial and mandibular morphology, and ear size. He classified Geoffroy's tamarin S. geoffroyi as a subspecies of S. oedipus. Subsequent analyses by Hernández-Camacho and Cooper (1976), Mittermeier and Coimbra-Filho (1981), and later Grooves (2001) consider the S. oedipus and S. geoffroyi types to be separate species.
Some researchers, such as Thorington (1976), posit that S. oedipus is more closely related to the white-footed tamarin (S. leucopus) than to S. geoffroyi. This view is supported by Hanihara and Natoria's analysis of toothcomb dental morphology (1987) and by Skinner (1991), who found similarities between S. oedipus and S. leucopus in 16 of 17 morphological traits considered.
This species of white-headed tamarin is thought to have diverged from the other Amazonian forms such as S. leucopus. This is supported by morphological considerations of the transition from juvenile to adulthood, during which the fur coloration patterns change significantly and are similar between the two species. Hershkovitz proposed that the separation of the two species happened in the Pleistocene at the height of the Atrato River, where it intersected the Cauca-Magdalena. At that time, the area was covered by a sea, which created a geographic barrier that caused the species to diverge through the process of allopatric speciation. Today, the two species are principally separated by the Atrato River.
Physical characteristics
The cotton-top tamarin is part of the most diminutive family of monkeys, Callitrichidae, the marmosets and tamarins; it weighs 432 g (15.2 oz) on average. Its head–body length is 20.8–25.9 cm (8.2–10.2 in), while its tail—which is not prehensile—is slightly longer at around 33–41 cm (13–16 in).[ The species is not sexually dimorphic, the male and female are of a similar size and weight. Members of the Callitrichinae subfamily (including this species) have sharp nails (tegulae) on all digits except the big toes, which have the flat nails (ungulae) common to other primates. Tegulae resemble a squirrel's claws and help with movement through trees.
The cotton-top tamarin has a long sagittal crest, consisting of white hairs, from forehead to nape flowing over the shoulders. The skin of the face is black with gray or white bands located above the eyes. These bands continue along the edge of the face down to the jaw. Tamarins are generally divided into three groups by their facial characteristics: hairy-faced, mottled-faced, and bare-faced. The cotton-top tamarin has fine white hairs covering its face, but they are so fine as to appear naked, thus is considered a bare-faced tamarin. Its lower canine teeth are longer than its incisors, creating the appearance of tusks. Like other callitrichids, the cotton-top tamarin has two molar teeth on each side of its jaw, not three like other New World monkeys.
The cotton-top tamarin has fur covering all of the body except the palms of the hands and feet, the eyelids, the borders of the nostrils, the nipples, the anus, and the penis. The back is brown, and the underparts, arms and legs are whitish-yellow. The rump and inner thighs and upper tail are reddish-orange. The fur is distributed with varying densities throughout the body: the genital region (scrotum and pubic zone), axilla, and the base of the tail have lower densities, while the forward region is much higher. Many individuals have stripes or whorls of fur of striking coloration on their throats. The cotton-top also has whiskers on its forehead and around its mouth.
Habitat and distribution
The cotton-top tamarin is restricted to a small area of northwest Colombia, between the Cauca and Magdalena Rivers to the south and east, the Atlantic coast to the north, and the Atrato River to the west. They mostly live Brazil; two-thirds of their habitat has been destroyed. Historically, the entire area was suitable for the cotton-top tamarin, but due to habitat loss through deforestation, it survives in fragmented parks and reserves. One of the most important areas for the cotton-top is the Paramillo National Park, which consists of 460,000 hectares (1,800 sq mi) of primary and secondary forests.
The cotton-top tamarin is found in both primary and secondary forests, from humid tropical forests in the south of its range to tropical dry forests in the north. It is seldom found at altitudes above 400 m (1,300 ft), but has been encountered up to 1,500 m (4,900 ft). It prefers the lower levels of the tropical forests, but may also be found foraging on the ground and between the understory and the canopy. It can adapt to forest fragments and can survive in relatively disturbed habitats. In the dry forests are pronounced seasons. Between December and April, it is dry, while heavy rainfall occurs between August and November which can flood the forest floor. Across its range, annual rainfall varies between 500 and 1,300 mm (20 and 51 in).
Ecology
The cotton-top tamarin has a diet of mainly fruit (40%) and animal material (40%). This includes insects, plant exudates such as gum and sap, nectar, and occasionally reptiles and amphibians. Due to its small body size and high food passage rate, its diet must be high-quality and high-energy. Insectivory is common in the cotton-top and the species hunts for insects using a variety of methods: stealth, pouncing, chasing, exploring holes, and turning over leaves.
Tamarins act as seed dispersers in tropical ecosystems. While larger primates eat larger seeds, tamarins eat the smaller ones. The expelled seeds have a higher germination rate than others and ingesting larger seeds may help to dislodge and expel intestinal parasites.
The cotton-top tamarin is diurnal and sleeps with its social group in trees with foliage cover. The group leaves the sleeping tree together an hour after dawn and spends the day foraging, resting, travelling, and grooming. The species is thought to rise late and increases the speed of its foraging and travelling before dusk to avoid crepuscular and nocturnal predators. Its main predators include raptors, mustelids, felids, and snakes. The cotton-top tamarin is extremely vigilant, always looking for potential predators. When the group is resting, one individual moves apart and acts as a lookout to alert the group if it sees a threat.
The cotton-top tamarin can live as long as 24 years in captivity, while its lifespan in the wild averages 13 years.
Behavior
Social systems
The cotton-top tamarin is a highly social primate that typically lives in groups of two to nine individuals, but may reach up to 13 members. These small familial groups tend to fluctuate in size and in composition of individuals and a clear dominance hierarchy is always present within a party. At the head of the group is the breeding pair. The male and female in this pair are typically in a monogamous reproductive relationship, and together serve as the group's dominant leaders.
Dominant pairs are the only breeding pair within their groups, and the female generally has authority over the breeding male. While nonbreeding group members can be the leading pair's offspring, immigrant adults may also live with and cooperate in these groups. This social grouping in cotton-top tamarins is hypothesized to arise from predation pressure. Cotton-top tamarins exhibit prosocial behavior that benefits other members of the group, and are well known for engaging in cooperative breeding whereby the group's subordinate adults help in rearing the offspring of the dominant pair. The dominant female is more likely to give birth to nonidentical twins than a singleton, so it would be too energetically expensive for just one pair to raise the young.
To prevent younger, subordinate females within the group from breeding, the dominant female uses pheromones. This suppresses sexual behavior and delays puberty. Unrelated males that join the group can release the females from this reproductive suppression; this may result in more than one female of the group becoming pregnant, but only one of the pregnancies will be successful.
Cooperation
In cooperative breeding, the effort put into caring for the dominant breeders' offspring is shared by the group members. Parents, siblings, and immigrant adults share young rearing duties for the breeding pair's young. These duties include carrying, protecting, feeding, comforting, and even engaging in play behavior with the group's young. Cotton-top tamarins display high levels of parental investment during infant care. Males, particularly those that are paternal, show a greater involvement in caregiving than do females. Despite this, both male and female infants prefer contact and proximity to their mothers over their fathers. Males may invest additional support in rearing offspring as a form of courtship to win favor of the group's dominant female. However, evidence indicates that time spent carrying infants does not correlate with a male's overall copulation frequency.
Since only one female in a group breeds, heavy investment in infant care ensures that all offspring survive until independence. Accordingly, cotton-top tamarins bear excessive costs to care for the group's young. Male carriers, especially paternal carriers, incur large energetic costs for the sake of the group's young. This burden may cause some male cotton-tops to lose up to 10–11% of their total body weight. The large weight loss may occur from reduced food intake as infant-carrying inhibits foraging ability for a carrier. The trend of male-carrier weight loss and decreased food intake is in contrast to the dominant female's periovulatory period, when she gains weight after increasing her own food intake and relinquishing much of her infant-carrying duties.
Altruism
While caregiving by males appears to be altruistic, particularly in cotton-top sires, the costs of infant care may in fact be tolerated for selfish reasons. Namely, the costs to male weight and foraging ability may in turn promote consecutive pregnancies in dominant females, thereby providing more offspring bearing the sire's genes. Additionally, the cooperative breeding structure of cotton-tops can change with group size and parental experience. First-time sires spend a greater amount of time carrying the infant than experienced ones, and in smaller groups, sires do a greater proportion of carrying and feeding the infant than in larger groups, where helpers take on more of the work. Total care for infants remains constant with varying group size, and infant outcome is not significantly different in groups that have differing levels of experience in raising offspring.
The cooperative breeding hypothesis predicts that cotton-top tamarins engage with this young-rearing paradigm, and in turn naturally embrace patterns of prosocial behavior. These monkeys engage in such behavior by acting altruistically within their groups in caring for infants, vocalizing alarm calls, and in sharing food. Though some studies indicate that cotton-top tamarins have the psychological capacity to participate in reciprocally mediated altruism, it is unclear whether the cotton-top tamarin acts solely using judgements on reinforcement history.
Other studies involving cotton-top tamarins have hinted that positive reciprocity and reciprocal altruism are irrelevant in the prosociality of these primates.[20] Some researchers believe these primates tend to cooperate for selfish reasons and in situations where they incur some benefit for themselves. That is, cooperation in cotton-top tamarins can be better described by mutualism than by true altruism.
Tamarins in captivity have shown the ability to distinguish other individuals based on cooperative tendencies and past behavior. Cotton-tops ultimately use this information to guide future cooperation. Brief periods of defection tend to cause swift, irreparable breakups between these primates and their cooperators. To avoid this, cotton-top tamarins may make economically driven decisions based on the projected incentives of a potential cooperator.
Spite and aggression
Despite an expansive array of altruistic behaviors, cotton-top tamarins engage in great bouts of spite through negative reciprocity and punishment. They have been observed to immediately start denying cooperation with monkeys that deny them benefits. Further, in captivity, these primates are not observed to increase altruistic behavior with fellow primates that are committed fully to cooperation. Based on this, researchers believe that repeated interactions in a cooperative society like that of the cotton-top tamarin can heighten the chances that an individual will designate behavioral punishments to others in its group. This reaction has also been observed in other species. However, these reciprocal punishments, or relative lack of altruistic actions, may alternatively happen as a result of response facilitation that increases the chances of a cotton-top punishing another primate after watching that individual perform a similar action.
Another way to look at punishment in cotton-top tamarins is by observing their aggressive behavioral responses within and between groups, as well as between species. The cotton-top tamarin, like many marmosets, other tamarins, and specifically those in the genus Saguinus, stages aggressive displays almost exclusively towards fellow monkeys that belong to the same gender. These intrasexual displays of aggression are more frequent in females, and are vital when a breeding female is forcing both subadult and adult females to emigrate out of a familial group.
Though aggression can occur within groups, the response towards intruders of another species is much more drastic and can involve a sexual dimorphism in displays. Females typically employ scent-marking intruder response tactics, whereas males are more prone to vocalizing threats, physical aggression, and piloerection. Scent-marking in cotton-top tamarins is done in two ways: either using anogenital scent-marking, or suprapubic scent-marking. The ability to use both of these separate glandular fields for threat signals may indicate females have developed diverging evolutionary threats through differential use of these markings. These variable signals may be used to sign a territorial encounter, or serve as a reproductive signal. The intensity of female threats are generally comparable when directed at intruders of either genders. In contrast, male cotton-tops are considerably more threatening towards fellow males than towards females.
Communication
The cotton-top tamarin vocalizes with bird-like whistles, soft chirping sounds, high-pitched trilling, and staccato calls. Researchers describe its repertoire of 38 distinct sounds as unusually sophisticated, conforming to grammatical rules. Jayne Cleveland and Charles Snowdon performed an in-depth feature analysis to classify the cotton-top's repertoire of vocalizations in 1982. They concluded that it uses a simple grammar consisting of eight phonetic variations of short, frequency-modulated "chirps"—each representing varying messages—and five longer constant frequency "whistles". They hypothesize that some of these calls demonstrate that the cotton-top tamarin uses phonetic syntax, while other calls may be exemplars of lexical syntax usage. Each type of call is given a letter signifier; for example, C-calls are associated with finding food and D-calls are associated with eating. Further, these calls can be modified to better deliver information relevant to auditory localization in call-recipients. Using this range of vocalizations, the adults may be able to communicate with one another about intention, thought processes, and emotion, including curiosity, fear, dismay, playfulness, warnings, joy, and calls to young.
Language acquisition
Over the first 20 weeks after a cotton-top tamarin is born, it is not fully capable of producing the range of vocalizations that an adult monkey can. Despite this limitation on speech producibility, researchers believe that language acquisition occurs early on with speech comprehension abilities arising first. Infants can at times produce adult-like chirps, but this is rarely done in the correct context and remains inconsistent across the first 20 weeks of life. Regardless, infant cotton-tops are able to respond in behaviorally appropriate ways to varying contexts when presented with adult chirps. This indicates that verbal perception is a quickly acquired skill for offspring, followed closely by auditory comprehension, and later by proper vocal producibility.
Castro and Snowdon (2000) observed that aside from inconsistent adult-like chirping, cotton-top infants most often produce a prototype chirp that differs in vocalization structure from anything seen in the full adult range of vocalizations. Infants are thought to imitate adult speakers, which use differing calls in various contexts, but by using solely the infant prototypical chirp. For instance, adult cotton-tops are known to significantly reduce the amount of general alarm calling in the presence of infants. This is likely adapted so that adults in close proximity to the group's young do not attract attention of predators to infant-dense areas. Additionally, infants reduce their prototype chirping in the presence of predators. Whether infants are shadowing the calling behavior of adults or they are comprehending danger remains unclear. However, researchers argue that young cotton-top tamarins are able to represent semantic information regardless of immature speech production.
To confirm the notion that language acquisition occurs as a progression of comprehension before production, Castro and Snowdon (2000) showed that infants respond behaviorally to vocalizing adults in a fashion that indicates they can comprehend auditory inputs. When an adult produces a C-call chirp, used to indicate food preference and when navigating to a food source, an infant approaches the adult caller to be fed, but do not use the prototype calling as a proxy for C-calls. This finding argues for the idea that infants are able to understand vocalizations first, and later acquire the ability to communicate with adult vocalizations.
General calling
Among the typical cotton-top tamarin communicative vocalizations, the combination long call (CLC) and the alarm call (AC) are the most heavily represented in the literature. CLCs encompass a range of contact calls that are produced by isolated individuals using chirps and whistles. This type of call is also used for seemingly altruistic alarm calls, thus adding to its range of cooperative behaviors. It is issued in the presence of kin when a threatening llamas predator is seen. Predators of the cotton-top tamarin include snakes, ocelots, tayras, and most notably, hawks. Early observations by Patricia Neyman even showed that cotton-tops produce diverse sets of alarm calls that can discriminate the presence of birds of prey versus ground-based predators.
CLCs involve the production of complex sequence multisyllabic vocalizations. Researchers have argued that long calls exhibit individual differences, thus can carry information sufficient for recipients to determine caller identity. Using habituation-discrimination paradigms in language experiments, this theory has been confirmed multiple times in literature. However, the individual syllables within a complete CLC vocalization in isolation of each other do not transfer sufficient information to communicate messages between monkeys. Scientists thus consider the whole, intact string of vocalizations to be the unit of perception for CLCs in the cotton-top tamarin. These examinations may confirm that cotton-tops incorporate a lexical syntax in areas of their communication.
Since tamarins can discriminate between predatory threats using varying vocalizations, recipients of an AC are thought to extract various complex signals from this form of communication. Primarily, cotton-tops are able to glean the identity of the cooperating tamarin through differences in individuals' alarm calls. Further, adults are able to discriminate the gender of callers from their ACs and determine the range of calls within a related tamarin's alarm calling repertoire. Alarm call-based identification is postulated to play a number of functional roles in the cotton-top tamarin. Firstly, an AC recipient is able to identify a cooperating tamarin, and by recognizing which in their group it is, be able to judge the reliability of the AC from past experience. This may arise from a selective pressure for being able to statistically determine the amount of risk present, and how endangered an individual and its group are.
Additionally, being able to localize auditory signals may help determine predator location, especially in the presence of a second AC from a different tamarin in the group. This can help confirm predator presence, type (e.g. flying versus ground-based), and support the recipient in triangulating a predator's location. In the context of the cotton-top's cooperative breeding groups, this is postulated as being adaptive for determining the variable risk to one's group members. For example, a call recipient is able to determine which of its kin are and are not at risk (e.g. young offspring, mates, subordinates, relatives, carriers, etc.) and plan subsequent actions accordingly.
Food calls
The cotton-top tamarin makes selective, specialized vocalizations in the presence of food. These include the C-call, produced when a cotton-top approaches and sorts through food, and the D-call, which is associated with food retrieval and is exhibited while eating.
C-call chirping is believed to be an honest signal for communicating food preference, and a cotton-top tamarin more often and more rapidly vocalizes with these chirps when approaching a highly favored food source. Functionally, this behavior may inform other tamarins of the actions the caller will take in a feeding context and whether a preferable food source is available. Despite this research indicating that food calls may be informative to fellow group mates, other observations of cotton-tops show that quantity and distribution of food and audience do not significantly alter a caller's food-centered vocalizations.
The cotton-top tamarin is seen to produce food calls both in the presence and absence of group members. Additionally, response to food calls are directed back to an original caller independent of visual confirmation of a food source. While this may appear to be a result from a very primitive form of communication, Roush and Snowdon (2005) maintain that the food-calling behavior confers some mentally representable information about food to recipient tamarins.
Conservation status
The wild population is estimated at 6,000 individuals, with 2,000 adults. This species is critically endangered, and was listed in "The World's 25 Most Endangered Primates between 2008 and 2012." The publication lists highly endangered primate species and is released every two years by the International Union for Conservation of Nature Species Survival Commission Primate Specialist Group. The cotton-top tamarin was not selected for the 2012–2014 publication.
Habitat destruction through forest clearing is the main cause of this collapse, and the cotton-top has lost more than three-quarters of its original habitat to deforestation, while the lowland forest in which it lives has been reduced to 5% of its historical range. This land is then used for large-scale agricultural production (i.e. cattle) and farming, logging, oil palm plantations, and hydroelectric projects that fragment the cotton-top tamarin's natural range.
The illegal pet trade and scientific research have also been cited as factors by the IUCN. While biomedical studies have recently limited their use of this species, illegal capture for the pet trade still plays a major role in endangering the cotton-top. Before 1976, when CITES listed the species under Appendix I banning all international trade, the cotton-top tamarin was exported for use in biomedical research.
In captivity, the cotton-top is highly prone to colitis, which is linked to an increased risk of a certain type of colon cancer. Up to 40,000 individuals were caught and exported for research into those diseases, as well as Epstein-Barr virus, for the benefit of humans. The species is now protected by international law. Although enough individuals are in captivity to sustain the species, it is still critically endangered in the wild.
The Proyecto Tití ("Project Tamarin") was started in 1985 to provide information and support in conservation of the cotton-top tamarin and its habitat in northern Colombia. Proyecto Tití's programs combine field research, education, and community programs to spread awareness about this endangered species and encourage the public to participate in its protection. It now has partner status with the Wildlife Conservation Network.
In January 2015, two captive cotton-top tamarins at the Alexandria Zoological Park in Alexandria, Louisiana, died when a caretaker left them outside overnight in temperatures as low as 30 °F. One other individual survived.
[Credit: en.wikipedia.org]
Includes: black lace dress lined in pink cream satin, satin bow belt,
sheer pantyhose, black straw hat with satin sash, big red ring, gold hoop earrings,
black pumps.
FM me.
Nelson Castle is located about 13 kilometers from Bronte, situated on a flat ground of the valley between Nebrodi and Etna Mount, on the left bank of the Saraceno river. It includes a noble wing, the early residence of Nelson family (improperly called Castle), the remains of the Benedictine abbey dedicated to the Maria Santissima (Blessed Virgin Mary), the church of Santa Maria of Maniace and a large lush parkland. The abbey was built around 1173, at the behest of Queen Margaret, in memory of the battle in which Giorgio Maniace liberated the area from the Saracens. By virtue of the privileges granted, the abbey enjoyed substantial incomes, and like all the feuds, contributed to the costs of the Royal Curia. During the centuries after its foundation the abbey knew hard times, until it was reduced in a miserable state with consequent depopulation of the countryside. At the end of the fifteenth century the abbey, with its vast lands, became property of Greater and New Hospital of Palermo (Ospedale Grande e Nuovo di Palermo), until 1799, when it was given to Horatio Nelson Admiral from Ferdinand III as award of the stifled Neapolitan republic. The restructuring, transformation and expansion of the ancient abbey into a sumptuous mansion was begun by Horatio Nelson, but he did not have the time nor the luck to set in his possessions in Sicily and to live in Bronte. Instead his heirs lived in the residence permanently. The building complex has become property of Bronte town by September 4th 1981, with subsequent restoration. In its simplicity it has a majestic appearance! Throught two gates it is possible accessing to the porch and then to a first courtyard where it is situated a Celtic cross in lava stone, erected in memory of Horatio Nelson. Laterally, on the right, you can access to interesting late-Norman church named Santa Maria and the square courtyard with a well in lava stone, around which were originally collected small workshops, the warehouses, the stables, and the granary. On the left, at the upper floor, there were the Nelson’s elegant apartments, now used as a museum. A large park enriches the Castle. Throught an access from the first courtyard you can visit the English Garden, wanted by Nelsons.
Il Castello Nelson si trova a circa 13 chilometri da Bronte, ubicato su un terreno pianeggiante di fondo valle tra Nebrodi ed Etna, sulla riva sinistra del torrente Saraceno. Comprende una ala gentilizia, un tempo residenza dei Nelson (impropriamente detta il Castello), i resti dell’antica abbazia benedettina dedicata a Maria Santissima, la chiesetta di Santa Maria di Maniace ed un grande lussureggiante parco. L'abbazia sorse intorno al 1173, per volontà della Regina Margherita, in memoria della battaglia in cui Giorgio Maniace liberò la zona dai Saraceni. In virtù dei privilegi concessi, l'abbazia godeva di rendite ragguardevoli e, come tutti i feudi, contribuiva alle spese della Regia Curia. Nei secoli successivi alla fondazione conobbe però periodi difficili, fino ad essere ridotta in uno stato miserevole con conseguente spopolamento delle campagne circostanti. Alla fine del XV secolo l’abbazia, con i suoi vasti terreni, divenne proprietà dell'Ospedale Grande e Nuovo di Palermo, fino al 1799 quando da Ferdinando III fu donata all’Ammiraglio Horatio Nelson in premio della soffocata repubblica partenopea. La ristrutturazione, la trasformazione e l'ampliamento dell’antica abbazia in una sontuosa residenza signorile fu iniziata da Horatio Nelson, che però non ebbe il tempo nè la fortuna di mettere piedi nei possedimenti siciliani e di abitare a Bronte. I suoi eredi invece abitarono stabilmente la residenza. Il complesso edilizio è diventato proprietà del Comune di Bronte dal 4 Settembre 1981, con successivo restauro. Nella sua semplicità ha un aspetto maestoso! Per due cancellate si accede al porticato d’ingresso e quindi ad un primo cortile dove è ubicata la croce celtica in pietra lavica eretta in memoria di Horatio Nelson. Lateralmente, a destra, si accede alla interessante chiesa tardo-normanna di Santa Maria ed al cortile quadrato con pozzo in pietra lavica, intorno al quale originariamente erano raccolti i piccoli laboratori, i magazzini, le stalle, il granaio. Sulla sinistra, al piano sopraelevato, erano gli appartamenti signorili dei Nelson, ora adibiti a museo. Un grande parco arricchisce il Castello. Con accesso dal primo cortile è possibile visitare il giardino inglese, voluto dai Nelson.
Bronte is a town and comune of Sicily (in the province of Catania, Italy), near Mount Etna.In 1520 Charles V united the twenty-four hamlets of the surrounding area, which formed the town of Bronte. Mount Etna nearly destroyed the town three times, in 1651, in 1832, and finally in 1843.In 1799, King Ferdinand III, created Bronte as a Duchy, and rewarded admiral Horatio Nelson with the title of Duke for the help he had provided him in bloodily repressing the revolution in Naples and so in recovering his throne. As well as being made a Duke, Nelson was given as a fief the Castello Maniace, which at the time was the remains of a Benedictine Monastery. The Castle passed into the Bridport family when the 1st Viscount Bridport married the then Duchess of Bronte, who was Admiral Nelson's niece.The Bridports continued to live in the castle until 1982 when the current Viscount sold the property to the province of Catania.
Bronte è un comune italiano di 19.424 abitanti della provincia di Catania in Sicilia.Si estende alle pendici occidentali dell'Etna. È un comune del Parco dell'Etna e del Parco dei Nebrodi.Durante il medioevo sul territorio dell'odierno comune si trovarono 24 piccoli agglomerati appartenenti al monastero di Maniace. Per decreto dell'imperatore Carlo V del Sacro Romano Impero fu creata la città di Bronte nel 1520.Bronte fu parzialmente danneggiata durante l'eruzione dell'Etna del 1651, mentre le colate delle eruzioni del 1832 e 1843 si avvicinarono ai territori di Bronte senza però raggiungere l'abitato. L'eruzione del 1843 è conosciuta soprattutto per la morte di 59 persone causata da un'esplosione che avvenne quando la lava invase una cisterna d'acqua. Questo è l'incidente più grave conosciuto nella storia delle eruzioni dell'Etna, che può essere direttamente associato con l'attività del vulcano.L'ammiraglio britannico Horatio Nelson fu insignito del titolo di duca di Bronte nel 1799 da Ferdinando I delle Due Sicilie con una donazione significativa di terreni, fra cui il Castello e la chiesa di Santa Maria nei pressi di Bronte e Maniace.
Mudeford was originally a small fishing village in the borough of Christchurch, Dorset southern England, lying at the entrance to Christchurch Harbour. The River Mude ( which starts from Poors Common in Bransgore, Hampshire and Bure Brook ( which starts from Nea Meadows in Highcliffe, Dorset ) flow into the harbour there. In recent times the boundaries of Mudeford have expanded and include modern housing. About 4000 people now live in the area giving a population density of roughly 24 persons per hectare. Mudeford includes two woodland areas (known as Mudeford Woods and Peregrine Woods), a recreation ground on the north side of Stanpit (used to play cricket since the 19th century, probably as far back as the 1860's) and All Saints Church ( built in 1869 as a gift by Mortimer Ricardo, who lived at Bure Homage House ).
The village is home to both Mudeford Infants School and Mudeford Junior School. Mudeford Quay was constructed in the late 1940. Before this, The Haven, as it was then known was surrounded by sloping beaches. The Run then was much wider than it is now and the area was subject to terrible erosion. So much so that Christchurch Council purchased the whole area in 1945. Five years later the area had been raised and reinforced with steel piles and concrete.
Today the quay which consists of The Haven Inn public house, several ex-fisherman's cottages and a large car park is still used by local fishing boats as well as being a base for many water sports. A RNLI inshore lifeboat station is located on the quay. In 1809, a troopship carrying 100 soldiers returning from the Peninsular War, sank in Christchurch Bay. The whole complement was saved by fishermen from the village. A specially built lifeboat was stationed at Mudeford from 1802, privately owned and manned by the local fisherman. It was subsumed by the RNLI in 1962 and in June 1963 a new inflatable boat was delivered. Between 1963 and 1995, the Mudeford Lifeboat was launched 766 times and rescued 308 people.
The Mudeford ferry operates between the Quay and Mudeford Sandbank on Hengistbury Head. The ferry was until the 1960's operated by rowing boats with payment being at the discretion of the passenger. Mudeford Quay is at the entrance to the Harbour known as ~ The Run. The area was historically much involved in smuggling and the site in 1784 of The Battle of Mudeford. George III is recorded as having visited Mudeford in 1801 and using a bathing machine.
Stanpit Marsh is situated on the north side of Christchurch Harbour, just below the confluence of the rivers Avon and Stour. The 65 hectare site has an unusual combination of habitats including salt marsh with creeks and salt pans, reed beds, freshwater marsh, gravel estuarine banks and sandy scrub. It was designated as a Local Nature Reserve in 1964 and in 1986 as a Site of Special Scientific Interest. The Marsh is home to over 300 species of plants, 14 of which are nationally rare and endangered.
Tutton’s Well:- Many Christchurch residents may be unaware that the Borough contains the last remaining natural geological erupting mineral spring within a public open space in East Dorset. The ancient Tutton’s Well can be found in Stanpit, near the Stanpit Recreation car park. The water of the well was recognised as having unusual purity with medicinal values as it contains a wide range of important minerals. In medieval times it was transported around the country as a cure and known as The Christchurch Elixir. The traditional annual pilgrimage to the Priory included the healing benefits of this spring water from the monks. In July 2009 the Council’s Planning Control Committee agreed that the Friends of Tutton's Well could restore ancient features to the Tutton's Well site. These will include:
1) restoring the quay wall at Stanpit Creek (from which fishermen used to launch their fishing boats)
2) restoring the Dipping Place - this will allow the original branch of the spring to emerge
3) restoring a working crank pump to the Well
4) erecting a notice board to give a historical perspective.
The restoration of the Tutton's Well features is due to the generous patronage of Tom Tutton without whom this valuable local history would be lost to memory.
On 1 May 2011 works will begin to restore the Arch of Victoria. A $335,000 grant from the Federal Government’s Regional and Local Community Infrastructure Program and $175,000 from the Federal Government’s National Sites Program has been received.
The project includes:
repair and replacement of deteriorated, cracked and otherwise damaged render; new matching mouldings to replace deteriorated mouldings or reinstate original mouldings ; removal of lichen and other organic growth to rendered surfaces; paint coating to new and existing render & new lighting
City of Ballarat
Victorian Heritage Register Statement of Significance
What is significant?
The Avenue of Honour (1917 - 1919) and Arch of Victory (1920) were erected as memorials to the people of the Ballarat and the surrounding district who enlisted in World War I. The Avenue of Honour consists of 3,771 trees planted at regular intervals of approximately 12 metres along 22km of the Ballarat-Burrumbeet Road. The Arch of Victory marks the beginning of the Avenue of Honour at its eastern end. The Avenue of Honour, with the Arch of Victory, was officially opened by the Prince of Wales on 3rd June 1920.
The planting of the Avenue commenced in June 1917 on the suggestion of Mrs W. D. Thompson, a director of clothing firm E. Lucas & Co, Ballarat, that an avenue of trees be planted in honour of the men and women of the district who had enlisted for service. The planting of one tree for each enlisted person began in June 1917 with funds of £2,000 raised by the 500 women employed in the factory, known as the 'Lucas girls'.The planting, carried out in eight phases over the next two years until its completion in June 1919. The planting, done by staff of the Lucas factory with the support of local farmers included 23 species of trees, mostly exotic deciduous species planted in single lines along either side of the road at regular spacings of 10 - 12 metres.Each species was usually planted in blocks of about 25 trees on either side of the road. The trees were numbered and allocated to individuals as close as possible to their order of enlistment, beginning at the Ballarat end. Plaques were originally attached to each timber tree guards giving the individual's name, the unit in which he or she enlisted and their number in the avenue. In 1934 these were replaced by permanent bronze plaques at the base of each tree, of which more than 80% are still in place.
Following cessation of hostilities in 1919 and completion of the avenue plantings, the 'Lucas Girls' led by Mrs W. D. Thompson began planning and fund raising of £2600 for a commemorative arch to provide an entrance to the Avenue of Honour. The Arch of Victory, designed by H.H. Smith, Head of the Art School at the School of Mines Ballarat, was a grand cement rendered masonry structure of a single central arch flanked by wide piers 20metres in width, spanning the roadway, and 18metres high. The arch, erected in 1920, is crowned by the 'Rising Sun' symbol of the Australian Commonwealth Military Forces beneath which the words Avenue of Honour and Victory are written prominently across the arch. In addition to the initial costs, for the Avenue of Honour and the Arch of Victory, a further £400 was donated by the public to a Maintenance Fund, with a returned soldier employed to attend to the trees.
During the First World War, the Avenue of Honour played a commemorative role and provided a stimulus for more people to enlist. Unlike other forms of memorials, avenues of honour and in particular the Ballarat Avenue required a high level of community participation in their creation which took place over a substantial period of time. Subsequently the Arch of Victory and Avenue of Honour became emblems of civic commitment to the war effort.
There have been a number of changes to the Avenue of Honour.Several of the original 23 species did not flourish and were replaced with species of Elms and Poplars which are the dominant genera of trees in the Avenue. In 1997, the Avenue consisted of 3,332 trees of forty different species and cultivars. Approximately half were found to be of fair to poor health and a management strategy developed, including the replanting of some trees.
In 1936 a memorial Cairn and Cross of Remembrance were erected at the Learmonth end of the Avenue where a tribute tree was also planted in 1959 in memory of Mrs W. D. Thompson. In 1938 a Memorial Rotunda was constructed 180m west of the Arch of Victory originally containing a 'Book of Remembrance' with the name of every person for whom a tree was planted, information now contained in a Roll of Honour on engraved metal sheets. In 1994 the avenue was cut by the Western Freeway Bypass, with the removal of sixteen trees which were replaced by trees in the freeway reserve.
The Arch of Victory remains intact but with the addition of memorial plaques in 1954 and 1987 to commemorate those who served from 1939-1945 and in the more recent conflicts in Korea, Borneo, Malaya and Vietnam. In 1993 the Arch of Victory Precinct, opened by Edward 'Weary' Dunlop, was created by the relocation of the 1938 Memorial Rotunda and Roll of Honour to the road reserve immediately south of the Arch and the construction of the adjacent Memorial Wall with 72 bronze plaques recording the names and tree numbers of service people honoured in the Avenue.
How is it significant?
The Avenue of Honour and Arch of Victory, Ballarat is of historic, architectural, aesthetic and social significance to the State of Victoria.
Why is it significant?
The Avenue of Honour is of historic significance as one of the earliest known and the longest example of this uniquely Australian form of memorial. Planting of memorial trees had been common during the Boer War but the Avenue of Honour at Ballarat was an early planting of an avenue of trees along a roadside as a memorial, setting a precedent which was soon followed by the planting of 91 other avenues in Victoria, principally in Central Victoria, between 1917 and 1920.
The Avenue of Honour is historically significant as representative of memorials that first appeared in Australia during World War I commemorating not just the dead but all those who enlisted for service in an egalitarian form where each individual, regardless of rank, was equally recognised for their service.
The Arch of Victory Precinct and Avenue of Honour, including the Memorial Cairn at the end of the Avenue, is historically significant as a collection of memorial types and structures that represent various forms of memorialisation in Victoria over the twentieth century.
The Arch of Victory is of architectural significance to State being an outstanding landscape monument, in the tradition of the Roman and Napoleonic victory arches erected across major routes or carriageways. It is the only memorial arch in Victoria constructed at such a grand scale. Other arches commemorating World War I such as at White Hills Botanic Gardens Bendigo (H1915), and in Murtoa were constructed as entrance gates to public gardens and have neither the size nor prominent location of the Arch of Victory. The association of the Arch of Victory with an Avenue of Honour is unique in Victoria.
The Avenue of Honour and Arch of Victory is aesthetically significant as an outstanding designed landscape and living memorial with the grand arch heralding the start of the roadside planting of more than 3300 trees over a length of 22 kilometres of roadway.
The Avenue of Honour and Arch of Victory is of social significance to the State of Victoria as a well recognised symbol of community endeavour and cooperation during war time. It is of social significance as being Victoria's best known war memorial with the exception of the Shrine of Remembrance. The significance of the Avenue of Honour and Arch of Victory to the Ballarat community, to the descendents of those commemorated by trees in the Avenue and to the Returned Services League is reflected in the continual use of the area for memorialisation over the course of the twentieth century culminating in the creation of the Arch of Victory precinct.
Rhode Island Pride
RI PrideFest
Illuminated Night Parade (New England's only illuminated night Pride Parade)
"ROAR" The Official RI Pride After Party presented by The Dark Lady & Alleycat
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PrideFest
12:00 pm to 8:00pm
40th Anniversary PrideFest takes place in the heart of downtown on South Water Street, along the Providence River waterfront.
Performance schedule includes:
4:20pm Glenn Stewart "Around Again" - "Little Miss John Wayne" (ROXXI bass player "Drive It To Ya Hard!" as seen on MTV Headbangers Ball)
4:20pm Joslyn Fox, RuPaul's Drag Race season 6, Logo TV
5:50pm Nina Sky (Puerto Rican duo) "Move Ya Body" - "Oyi Mi Canto"
6:30pm Sarah Potenza (Sarah & The Tall Boys) The Voice season 8, NBC Television "Monster"
7:30pm Ephraim Adamz "I'm Thirsty"
* Special performance from Kristine W (Weitz) "Feel What You Want" - "One More Try" - "Walk Away" - "Some Lovin'"
The RI Pride Illuminated Night Parade
8:00pm
The RI Pride Illuminated Night Parade winds its way through the streets of Providence from the intersection of Dorrance and Weybosset Streets, makes a left on Washington Street, and turns left on Empire Street, traveling past the reviewing stand.
10:00pm - 3:00am
EGO Saturday Dance Party
Chi Chi DeVayne, RuPaul's Drag Race season 8, Logo TV
June 18th 2016 WaterFire Providence Full Lighting (Sunset 8:24pm), Rhode Island Pride 40th Anniversary, RI PrideFest, Illuminated Night Parade and the Official RI Pride After Party all took place on the same date in the city of Providence, Rhode Island
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Facts about Rhode Island:
Rhode Island is the smallest state in size in the United States.
Polo was played for the first time in the United States in 1876 near Newport
Rhode Island was home to the first National Lawn Tennis Championship in 1899
Rhode Island's official state name is Rhode Island and Providence Plantations
The White Horse Tavern was built in 1673 and is the oldest operating tavern in the United States
Rhode Island founder is Roger Williams
State Nickname - The Ocean State, Little Rhody
State Motto - "Hope"
State Song - Rhode Island, It's for Me
State flower - Violets
State tree - Red maple
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The Stonewall riots were a series of spontaneous, violent demonstrations by members of the gay (LGBT) community against a police raid that took place in the early morning hours of June 28, 1969, at the Stonewall Inn (nightclub / bar / disco), located on Christopher Street in the Greenwich Village neighborhood of Manhattan, New York City. They are widely considered to constitute the single most important event leading to the gay liberation movement and the modern fight for LGBT rights in the United States.
Many pride events happen in the month of June to commemorate this date.
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Rhode Island is app 180 miles from New York City and travel time on I95 without traffic is app 2hrs and 55 minutes one way
Greyhound Bus Service
Roundtrip bus service from New York City $39.00 (June 2016 rate)
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Hashtag metadata tag
#Providence #ProvidenceRI #ProvidenceRhodeIsland #Rhode #Island #RhodeIsland #RI #RhodeIslandState #NewEngland #US #USA #America #American #RhodeIslander #RhodeIslanders #DowntownProvidence #LGBT #LGBT #LGBTQ #GLBTQ #gay #gays #gaypeople #lesbian #lesbians #bi #bisexual #trans #transgender #gender #genderidentity #drag #queen #queens #dragqueen #dragqueens #queer #intersex #equality #ILoveRhodeIsland #ILoveProvidence
Photo
Providence city, State of Rhode Island and Providence Plantations state, USA The United States of America country, North America continent
June 18th 2016
ca. 1911
Includes the Rev. and Mrs. D. Gunson, Mrs. Tweedale, Mrs. P. C. Higgins, Mrs. Collins, Mr. S. Wilson, Mr. Frank Apted, Mrs. Roebuck, Miss Lily Wright, Mrs. Mercer, Misses Gwladys and Gwen Apted, Jessie Gunson, K. Higgins. The four boy are Harold Wright, David Gunson, Jack Gunson and Alec Gunson. The two small girls are Mable Gunson and (probably) Florence Wright.
Visit our catalogue to download a hi-res copy or find out more about this image: handle.slv.vic.gov.au/10381/172522
Want to find more pictures from the State Library of Victoria's collections? guides.slv.vic.gov.au/pictures
Castellum Hoge Woerd, Utrecht. the Netherlands by SKETS architecture studio, 2015
The design for the Cultural Park Castellum Hoge Woerd is based on an architectural and landscape interpretation of an ancient Roman Castellum (fort), and represents an important and unique cultural heritage site in the Netherlands. It includes a theatre, restaurant, museum, environmental/sustainability centre, courtyard for events, and an outdoor area used for community programs. The Lower Germanic Limes, once the border of the Roman Empire, is an archaeological line that stretches along the Rhine between Finxbach in Rhineland-Palatinate and the mouth of the Old Rhine at Katwijk. The Lower Germanic Limes are part of the European Limes: an elongated collection of archaeological sites running from the Antonine Wall in Scotland to the Black Sea in Romania, which once formed a single coherent military system. The Limes are also known as the largest archaeological monument of Europe.
The Castellum is built right on top of the contours of the remains of a Roman fortress. These are protected and viewed as an archaeological monument, and by defining them with a new building, the public can gain insight into life at the border of the Roman Empire – the ‘Limes’ – in the Netherlands. While archaeological sites elsewhere in the Netherlands usually remain hidden beneath the surface, here the site is stimulating, engaging and tangible for the public. The Castellum also contributes to the identity of the Leidsche Rijn, the largest residential construction site in the Netherlands since 2006. The complex has two defining elements: the ‘walls’ that follow the contour of the old fortress and the pavilion that breaks this defensive line.
The fort was built on an archaeological monument, right where 2000 years ago there was a Castellum. The ground has substantial differences in height: Hoge Woerd means “a natural drake”. However, the floor is on a single level. The ‘walls’ are 5.5 meters wide, and can be used for different activities. The height of the walls ranges from 4.5 to 6 m. The facades are made out of wood, just like an ancient fort but with a contemporary system, consisting of a clear grid of steel frames with wooden slats. This system is applied both on the inside and outside. There are four entrance gates with a height of 10 m.
Deviation from a traditional Castellum can be found in the added pavilion building. The reason for this addition lies in the desire to find a space for the Meern 1, a completely intact two thousand year old Roman ship, found and excavated during the development of the Leidsche Rijn. The pavilion is also the best solution to provide a modern auditorium for 250 visitors. The pavilion building cuts through the walls of the Castellum and it represents the only element that crosses the fort and provides a view to the courtyard. The facades of the pavilion consist of patterned aluminium panels, making reference to the history of the place. Inside the pavilion, functions are combined. The foyer of the theatre merges with the restaurant and provides an exhibition space for the Roman ship. The ship lies on top of glass sheets and around it people can read about its history.
The Monuments Commission have established clear criteria regarding building on such valuable archaeological ground. One of these provides that the ground can be compressed by approximately 10 cm. To achieve this at the Castellum, a 2 m deep sand layer was used to compress and prepare the under-ground. One meter was then removed, and the remaining one-meter embankment was used for the foundation strips and for the piping. This is to prevent damage to the archaeological substrate. Almost the entire complex is built on sand, without a pile foundation with the exception of the theatre on the first floor of the pavilion. Here four clusters of foundation piles are used, thus giving the pavilion a hybrid foundation.
At the entrance side of the Castellum there is an informal square where the location of the old bathhouse is marked with grass and cortex steel. The fort is surrounded by ditches, and grass slopes in the landscape indicate place where the Old Rhine used to flow. The courtyard is an open grass field. The ancient Roman roads run like a cross through the terrain and extend through the gates. Visitors are free to interpret and use the inside space, which provides a safe atmosphere, a lawn surrounded by a six meter high wooden fort. On the east side of the building, there is an open field for community activities. There are many different gardens with different purposes. To facilitate those activities: a stall, a storage, a apiary and a greenhouse. These buildings form an ensemble in terms of materials and playful positioning in the country, and represent an added value to the Castellum complex.
SKETS, in addition to conducting the architectural work, was also responsible for the design of the interior and acted as a supervisor in the design of the museum exhibition. The building is designed by bringing together a number of different perspectives, where the cooperation between the various disciplines is essential. The architects played a directing and guiding role in ensuring this.
Scottish kilt provides a wide range of Kilt Accessories which includes Fly Plaid, Pin, Socks, Shoes & Flashes
Fly Plaid
Those who wear kilt outfits know that there are a number of different aspects to the kilts that tie them together and give them a completed look. One of those things is plaid flies. Fly Plaid reaches far past Scottish heritage, extending as far back as the Roman times, but they have become an integral part of kilt-wearing culture. At Scottish Kilt Shop, we offer a huge assortment of kilt flies for you to choose from, ranging from all different sorts of tartan colors, so you can find the one that best suits your style. Each one of the kilt flies is made out of the highest quality materials that are sure to last for years. You can get a full- or mini-sized version.
Kilt Pins
Look ultra stylish the next time you step out of the house in your favorite kilt ensemble with these Kilt Pin from Scottish Kilt Shop! We know that your individuality is important to you, and that is why we offer so many choices of kilt pins to take home with you. While our pins are certainly stylish and will have you standing out in the crowd of kilt wearers around you, they also serve their practical purpose in that they keep the bottom of your kilt closed and looking nice and neat. Choose from a selection of kilt pins including the Lion Rampant , the Scottish thistle pin, Masonic kilt pin, silver chrome Celtic cross and many other fashionable pins that your heart may desire.
Kilt Flashes
Find your new favorite hose socks accessories here at Scottish Kilt Shop! No matter what style of kilt you enjoy wearing, you can find a flash that will match your attire. Our Kilt flashes consist of a wide selection of different tartan styles for you to choose from, from the darkest of blacks to the most vibrant of greens and even the sunny MacLeod of Lewis tartan . Perfect for any size of kilt hose, these stylish flashes are ready to spice up your favorite kilt look. While they are great decorative garments, our flashes also serve their practical purpose of ensuring that your kilt hose does not sag or otherwise slip down from the space around your leg in which they are supposed to fit.
Kilt Socks
When it comes to choosing pairs of hose to go along with your kilts, you need something heavy weight and durable, and that is exactly what you will find here at Scottish Kilt Shop. We offer a number of high quality kilt socks that promise to retain their color, even through several washes. The kilt hose features a premium ribbed patterning that runs throughout the whole length of the socks. They are ultra soft and won’t cause itching, making them perfect for wearing for long periods of time, even when the weather is warm and humid. Kilt hose styles available at Scottish Kilt Shop are available in colors that are perfectly suited for absolutely any style of kilt, making our store your premier shop for your kilt accessories .
Kilt Shoes
When it comes to wearing a full kilt dress, attention should be paid as much to the rest of the outfit as it is to the kilt itself. With these Oxford Kilt Shoes, you can feel confident knowing that you are wearing only the most in-style and high-quality oxford shoes with your kilts, helping you not only look your best but also feel your best. The Oxford Shoes here at Scottish Kilt Shop are made in the traditional oxford style and are crafted out of 100 percent natural leather, giving you the assurance you need to know they will last for many wears to come. Every style of Oxford Shoes we sell are made with classic lacing patterns that allow you to fit into the traditional lace-up styles of kilt wearing. The shoes are designed for wear at formal events and will keep you comfortable and looking your best all night long.
2020 has played havoc on all the supply chains in the world, which includes of course the collectibles industry. Strangely though, my Japanese figures don't seem horribly impacted, maybe a week or two off, whereas the domestic stuff (Hasbro, NECA, etc.) has been an absolute dumpster fire with regards to release dates, especially here in Canada.
I still can't even place preorders for some of items I'm looking for, and they've already been seen in the US and parts of Canada.
But the orders are slowly trickling in, the first of which is Doubledealer from the Transformers: Earthrise line.
I don't get too many mainline Transformers anymore. In general, they are much better than what I had as a kid, but at this point in my life I just feel that toy engineering trumps all other features. But occasionally, there is that one character that tickles my fancy.
Such is Doubledealer.
If you've ever read my Transformers reviews (infrequent, I know) you'll probably have picked up I'm a Post-Movie guy myself, specifically the stuff that showed up AFTER the American show ended, focusing on the Headmasters, Targetmasters, and Powermasters.
The American storyline always made things more complicated than necessary, with body parts being sacrificed so characters could Binary Bond to each other. I prefer the Japanese explanation - tiny Transformers from Planet Master (Headmasters and so on) are tiny and need big robot bodies called Transtectors to beat the crap out of each other (at least in the case of Head and Power... I don't think Targetmasters had Transtectors).
So basically same character, bigger body.
Doubledealer was a Triple Changer Double Powermaster - value for your toy dollar, as it were. As a character, Doubledealer supplied both Autobots and Decepticons with weapons. His standard mode is the ICBM (Intercontinental Ballistic Missile) Carrier, with one Powermaster turning him into an Autobot Bot, and one turning him into a Decepticon Falcon.
The Earthrise update pays homage to the classic G1 look, albeit without the giant head. Sadly, the Powermaster gimmick is no longer a thing, though it was nice of Hasbro to include a removable "Powermaster" engine as an homage to the original toy. There's now also the ability to swap faction signs to better suit the conversation Doubledealer is having at the time. I wish they had kept the painted wheels, though, as all black wheels screams "I wanted to save a few bucks" to me, especially on a figure that is at the Leader price point, and they went through the trouble of painting the little wing things on the Bot mode chest.
While we're on the subject, stickers used are of a much better quality than those horrible foil things used on the Power of the Primes line.
I wish they had given the Bot mode larger feet because it just looks awkward as it is right now.
Hasbro kept his trademark ICBM, gave him a few more weapons in the form of two missile pods, a turret, and I think a rock launcher, as well as a removable jetpack/backpack that resembles stablizers uses for large trucks, but thanks to the power of imagination serves several purposes, including hiding Doubledealers head in truck mode.
Compared to Deluxe size figures where entire car roofs have been removed, this isn't that bad.
As far as I can tell, this appears to be a brand new mould.
The articulation of the Bot mode has improved dramatically since the G1 days, and is probably on par with the repainted Blitzwing version of the character in the Generations lineup. You get ankle pivots, knees with lower leg pivot, ball jointed hips, waist, standard shoulders, bicep swivel, double jointed elbows, rotating fists, and a ball jointed head. All in all, you'll get some decent action poses and "posing with guns" sort of things out the figure, which is the norm for a Transformer figure.
Of the two Vehicle modes, the Carrier has always been the more solid of the two modes, basically being a wheeled brick with a crap ton of weapons on it. Other than additional paint, I think the weapons could have been larger to properly accompany a giant missile. There are all sorts of lovely mechanical designs that area sculpted into the shell of the this mode, which help to make the Bot mode pop.
Falcon mode is... awkward, just like the G1 version was. Post movie, many of these Triplechanger alt mode, particularly animal ones, really required imagination on the side of the kid playing with the toy. I suspect it was this sort of ambiguity that drew me towards them. Proportions are actually quite similar to the OG (still looks like an underdeveloped chicken), with the wings now more complex in terms of design, and I swear that Falcon head was lifted directly from the G1 toy. Other major changes would be the fact that the missile is no longer undermounted, which to be fair would be kind of awkward for the poor guy in the event of a bad landing.
Because everyone loves reasons to buy more stuff, there is TECHNICALLY a forth mode for Doubledealer, that of a Base that can connect to other Base Mode figures, which in the instructions is the Quintesson Judge. As far as Base Modes go, this isn't the best I've seen though it certainly beats the awkward splayed panels of Powermaster Optimus Prime.
The Earthrise Doubledealer is a fantastic upgrade to the original character, and has a very strong Bot and a very competent Carrier mode. However, at this price point, I feel that your decision to buy one of these is probably influenced by your love/acceptance of the Falcon mode - unless you're a completionist.
I've got a few more Transformers on preorder, which are now horribly behind schedule but what can you do?
Between then and now, I'm sure I'll find other figures to keep me entertained.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
OCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.
www.RocktropolisMusic.com (c) 2012
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: NEoN
@WCF2016 : RT @abpnewstv: Padma Vibhushan Awardees 2016 include: Yamini Krihnamurty, Rajinikanth, Sri Sri Ravishankar, Cherukuri Ramoji Rao (via Twitter twitter.com/WCF2016/status/691558916694519808)
Shravanabelagola (Kannada:ಶ್ರವಣಬೆಳಗೊಳ Śravaṇa Beḷagoḷa) is a city located near Channarayapatna of Hassan district in the Indian state of Karnataka and is 158 km from Bangalore, the capital of the state. The statue of Gommateshvara Bahubali at Shravanabelagola is one of the most important tirthas (pilgrimage destinations) in Jainism, one that reached a peak in architectural and sculptural activity under the patronage of Western Ganga dynasty of Talakad. Chandragupta Maurya is said to have died here in 298 BCE after he became a Jain monk and assumed an ascetic life style.
LOCATION
Shravanabelagola is located at 13 km to the south-east of Channarayapatna in the Channarayapatna taluk of Hassan district of Karnataka. It is at a distance of 51 km south-east of Hassan, Karnataka, the district centre. It is situated at a distance of 12 km to the south from the Bangalore-Mangalore road (NH-48), 78 km from Halebidu, 89 km from Belur, 83 km from Mysore, 233 km from Mangalore, 17 km from Hirisave and 157 km from Bangalore, the capital of Karnataka.
ETYMOLOGY
Shravanabelagola "White Pond of the Shravana" is named with reference to the colossal image of Gommaṭa - the prefix Śravaṇa serves to distinguish it from other Belagolas with the prefixes Hale- and Kodi-, while Beḷagoḷa "white pond" is an allusion to the pond in the middle of the town. The Sanskrit equivalents Śvetasarovara, Dhavalasarovara and Dhavalasarasa used in the inscriptions that support this meaning.
Some inscriptions mention the name of the place as Beḷguḷa, which has given rise to another derivation from the plant Solanum ferox (hairy-fruited eggplant). This derivation is in allusion to a tradition which says that a pious old woman completely anointed the colossal image with the milk brought by her in a gullakayi or eggplant. The place is also designated as Devara Beḷgoḷa "White Pond of the God" and Gommaṭapuram "city of Gommaṭa" in some epigraphs.
HISTORY
Shravanabelagola has two hills, Chandragiri and Vindhyagiri. Acharya Bhadrabahu and his pupil Chandragupta Maurya are believed to have meditated there. Chandragupta Basadi, which was dedicated to Chandragupta Maurya, was originally built there by Ashoka in the third century BC. Chandragiri also has memorials to numerous monks and Śrāvakas who have meditated there since the fifth century AD, including the last king of the Rashtrakuta dynasty of Manyakheta. Chandragiri also has a famous temple built by Chavundaraya
The 58-feet tall monolithic statue of Gommateshvara is located on Vindyagiri Hill. It is considered to be the world's largest monolithic stone statue. The base of the statue has an inscriptions in Prakrutha i.e. devnagari script, dating from 981 AD. The inscription praises the king who funded the effort and his general, Chavundaraya, who erected the statue for his mother. Every twelve years, thousands of devotees congregate here to perform the Mahamastakabhisheka, a spectacular ceremony in which the statue is anointed with Water, Turmeric, Rice flour, Sugar cane juice, Sandalwood paste, saffron, and gold and silver flowers. The next Mahamastakabhisheka will be held in 2018. The Statue is called as 'Statue of Gommateshvara' by the Kannada people of Karnataka, but the jains refer to the same as "Bahubali".
INSCRIPTIONS
More than 800 inscriptions have been found at Shravanabelagola, dating to various times from 600 to 1830. A large number of these are found in the Chandragiri and the rest can be seen in the Vindhyagiri Hill and the town. Most of the inscriptions at the Chandragiri date back before the 10th century. These inscriptions include texts in the Kannada, The second volume of Epigraphia Carnatica, written by B. Lewis Rice, is dedicated to the inscriptions found here. It is said to be the oldest Konkani inscription. The inscriptions are written in various Halegannada (Old Kannada) and Purvahalagannada (Ancient Kannada) characters. Some of these inscriptions mention the rise and growth in power of the Western Ganga Dynasty, the Rashtrakutas, the Hoysala Empire, the Vijayanagar Empire and the Wodeyar dynasty. These inscriptions have helped modern scholars to understand the nature and development of the Kannada language and its literature.
On August 5, 2007, the statue at Shravanabelagola was voted by the readers of Times of India as the first of the Seven Wonders of India. 49% votes went in favor of the statue.
BASADI
1. Akkana Basadi: built in 1181 A.D. Akkana Basadi has twenty-third Jain Tirthankar (saint) Parshwanath as main deity of the temple.
2. Chandragupta basadi: established in 9th century. The middle cell of this temple has the figure of Parshvanatha, the one to the right the figure of Padmavathi and the one to the left the figure of Kushmandini, all in a seated posture.
3. Shantinatha Basadi: This temple is dedicated to Shantinatha. It was built around 1200 A.D.
4. Parshwanatha Basadi: This is a beautiful structure with decorated outer walls. The image of Parshwanatha is the tallest on the hill which is 18 feet in height. The manastambha (pillar) is sculptured on all four sides which contains the figure of Padmavathi on the south, Yaksha on the east, seated Kushmandini on the north and a galloping horseman on the west. The pillars in the navaranga are of round Ganga type with bell, vase and wheel mouldings.
5. Kattlae Basadi: This is situated to the left of Parshwanatha Basadi and in fact this is the biggest of all the Basadis on this hill. Kattlae Basadi has first Jain Tirthankar (saint) Rishabhnatha as main deity of the temple. Here one finds the image of Adinatha Thirthankara and also of Pampavathi in the Kaisale.
6. Chandraprabha Basadi: It is dedicated to the worship of the Eighth Thirthankara, Chandraprabha. The images of Shyama and Jwalamalini, Yaksha and Yakshi are to be found. The basadi is a brick structure raised over a stone base. This temple might be one of the oldest on the hill and its date would be about 800 A.D. It is said to have been constructed by the Ganga king Sivamara II.
7. Suparshwanatha Basadi: Seven headed serpent is carved over the head of the Suparshvanatha image.
8. Chamundarayaraya basadi: is the finest and one of the largest temples on the hill.It is dedicated to Neminatha, the twenty second tirthankara. The sukhanasi consists of good figures of Sarvahna and Kushmandini, the yaksha and yakshi of Neminatha. It is dated back to 982 A.D.
9. Chavundaraya Basadi: This Basadi was constructed in 982 by Chavundaraya. It is dedicated to the worship of Neminatha Swamy, the 22nd Thirthankara. This is constructed as the most beautiful of all the Basadis.
OTHER NOTABLE THINGS
Shravanabelagola is the seat of the ancient Bhattaraka Matha, belonging to the Desiya Gana lineage of Mula Sangh, from the Digambara monstic tradition. The Bhattarakas are all named Charukirti. Bahubali College of Engineering is an educational institute at Śravaṇa Beḷgoḷa.
PROMINENT PERSONALITIES
- Charukeerthi Bhattaraka Swamiji, pontiff of the Shravanabelagola Jain Mutt
- SV Bhaskrachar, prominent leader
WIKIPEDIA
North Country families serving with the Colours include the following: Mrs. Clasper, Middlesbrough: 2 sons.
This photograph was published in the Illustrated Chronicle on the 5th of May 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images or have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Wet racing action during the Sussex Trophy, Goodwood Revival. Brave boys, as the race features the most powerful cars on the programme.
Murree (Punjabi, Urdu: مری) is a hill station and summer resort and the administrative centre of Murree Tehsil, Pakistan, which is a subdivision of Rawalpindi District and includes the Murree Hills.
Murree was the summer capital of the British Raj in the Punjab Province (British India). A popular tourist destination Located in the north-west Himalayas at an average altitude of 2,291 metres (7,516 ft), the city of Murree, draped in forests of pine, and oak, experiences pleasant summers and cold, snowy winters. The city is famous for its buildings styled in tudorbethan and neo-gothic architecture dating from the colonial era.
Murree is located along the Islamabad-Murree Highway, some 58.3 km (36.2 mi) northeast of Islamabad.
Murree was developed in 1851 by the (then) President of the Punjab Administrative Board, Sir Henry Lawrence, and was originally established for the British troops garrisoned on the Afghan frontier as a sanatorium.Officially, the municipality was created in 1850.
The permanent town of Murree was constructed at Sunnybank in 1853. The church was sanctified in May 1857, and the main road, Jinnah Road, formerly known as The Mall (and still commonly referred to as), was built. The most significant commercial establishments, the Post Office, general merchants with European goods, tailors and a millinery, were established opposite the church. Until 1947, access to Jinnah Road was restricted for "natives" (non-Europeans).
Until 1876, Murree was the summer headquarters of the Punjab local government; after 1876 the headquarters were moved to Shimla.[
The railway connection with Lahore, the capital of the Punjab Province, via Rawalpindi, made Murree a popular resort for Punjab officials, and the villas and other houses erected for the accommodation of English families gave it a European aspect. The houses crowned the summit and sides of an irregular ridge, the neighbouring hills were covered during the summer with encampments of British troops, while the station itself was filled with European visitors from the plains and travellers to Kashmir.
Murree is one of the largest resort towns in the Galyat area of Pakistan, and is the municipal or regional capital of Murree Tehsil* (*general administrative subdivision), it is an administrative division of the Rawalpindi District. The town of Muree is situated on the southern slopes of the Western Himalayan foothills as they ascend northeastward, towards the bifurcated states of Kashmir. During British colonial rule in the nineteenth century, its altitude was established at 7,500 feet (2,300 m).
Murree is accessible by road from the centre of the Islamabad and Rawalpindi areas. It is still associated with Britain; many British fruits (including cherries, raspberries and strawberries) thrive locally. There is an Anglican church, built in 1857, located at the centre of the town, which is still used as a place of worship. Many houses around the church are still standing, functioning mostly as hotels. Old traditional restaurants have been replaced by fast-food shops and newer restaurants. Some famous old places of accommodation, such as the Rich Villa Inn and Gulberg Hotel, have completely disappeared. A typical hotel provides a motel-type accommodation with breakfast and communication access. Newly built hotels are also accessible
Murree houses headquarters of 12th infantry division of Pakistan Army and large number of educational and training institutions. Combined Military Hospital established to cater the needs of civilian population of Murree and adjoining areas. Pakistan Air Force also maintains base at Lower Topa. For administrative purposes the military areas of Murree are divided in two separate cantonments, Murree Cantonment and Murree Hills Cantonment.
Murree Houses residence for Punjab Governor at the Kashmir point. The imposing building was built in nineteenth century by the British. There are Punjab and Sindh Houses to cater needs of the provincial government. Similarly, there are Rest Houses for the Judges of Supreme Court and Lahore High Court. A large number of government, semi government and private departments and institutions maintain guest houses in Murree. A number of diplomatic missions based in Islamabad established their camp offices in Murree in the 1960s. The same however are seldom used now. Adjacent to Murree is the Galliat region of North West Frontier Province which includes Nathiagalli, Ayubia, Khanspur, Dunga Galli, Khairagalli and Changla Galli. Before the British rule whether part of Rawalpindi District of Muzaffarabad, Murree and Galiat have been part of same administrative unit, however in 1850 the British decided to divide them between Rawalpindi and Hazara. Howevere despite divided by provincial boundaries, Murree and Galliat are inseparable both geographically, culturally, linguistically as well as from the point of view of the tourists. Murree serves as a gateway to Galliat.
[Bhurban]] and New Murree (Patriata) have also developed as tourist centres. The whole Murree Galliat region is known for its scenic beauty. Mountains overhung with pines and oaks, bubbling with gurgling springs, crisscrossed by rivulets, dotted with sprawling lawns and orchards overloaded with fruits present a nice spectacle. A fine view of the snowy peaks of Kashmir is to be had on a clear day, and the crest of Nanga Parbat can sometimes be seen.
Bhurban, boosting with a five star Pearl Continental Hotel and a nine hole Golf course has cropped recently as another tourist attraction in the area. Lying at an altitude of 6000 ft, Bhurban is situated at a distance of 13 kilometres from Murree on one of main roads leading to Azad Kashmir. The Punjab government is said to have plans to develop New Murree city at Patriata fifteen kilometres southeast of Murree. The Punjab Tourism department constructed resorts amidst the forests on the Patriata ridge in 1987 as well as a 3 kilometre sky slope from the top of Patriata ridge to Gulara Gali (not functioning currently). Patriata is connected with Islamabad and Murree through a number of all weather roads.
This curatorship property includes a ca. 1845 stone farmhouse, smoke house, spring house, barn, corn crib/tractor shed and other various outbuildings quietly sitting on 11 acres of secluded lands within Susquehanna State Park.
City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.
The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.
Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.
Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.