Includes photos from the David Thompson Highway 11 Rocky Mountains Alberta near Nordegg and the David Thompson Resort

 

Lake Abraham Lake Reservoir

Members: Ron Whiteside sent the Reunion notice of the Doolittle Raiders which took place. It’s too long to include in the Nov Newsletter, but I thought I’d send it as a separate mailing in case you were interested in reading it. I did put part of it in the Newsletter.

 

The Final Toast

 

It's the cup of brandy that no one wants to drink.

On April 17, 2013 in Fort Walton Beach , Florida , the surviving

Doolittle Raiders gathered publicly for the last time.

 

They once were among the most universally admired and revered men

in the United States . There were 80 of the Raiders in April 1942,

when they carried out one of the most courageous and

heart-stirring military operations in this nation's history. The

mere mention of their unit's name, in those years, would bring

tears to the eyes of grateful Americans.

 

Now only four survive.

After Japan 's sneak attack on Pearl Harbor , with the United

States reeling and wounded, something dramatic was needed to turn

the war effort around.

Even though there were no friendly airfields close enough to Japan

for the United States to launch a retaliation, a daring plan was

devised. Sixteen B-25s were modified so that they could take off

from the deck of an aircraft carrier. This had never before been

tried -- sending such big, heavy bombers from a carrier.

 

The 16 five-man crews, under the command of Lt. Col. James

Doolittle, who himself flew the lead plane off the USS Hornet,

knew that they would not be able to return to the carrier. They

would have to hit Japan and then hope to make it to China for a

safe landing.

 

But on the day of the raid, the Japanese military caught wind of

the plan. The Raiders were told that they would have to take off

from much farther out in the Pacific Ocean than they had counted

on. They were told that because of this they would not have

enough fuel to make it to safety.

And those men went anyway.

 

They bombed Tokyo , and then flew as far as they could. Four

planes crash-landed; 11 more crews bailed out, and three of the

Raiders died. Eight more were captured; three were executed.

Another died of starvation in a Japanese prison camp. One crew

made it to Russia .

 

The Doolittle Raid sent a message from the United States to its

enemies, and to the rest of the world: We will fight. And, no

matter what it takes, we will win.

Of the 80 Raiders, 62 survived the war. They were celebrated as

national heroes, models of bravery. Metro-Goldwyn-Mayer produced

a motion picture based on the raid; "Thirty Seconds Over Tokyo,"

starring Spencer Tracy and Van Johnson, was a patriotic and

emotional box-office hit, and the phrase became part of the

national lexicon. In the movie-theater previews for the film, MGM

proclaimed that it was presenting the story "with supreme pride."

 

Beginning in 1946, the surviving Raiders have held a reunion each

April, to commemorate the mission. The reunion is in a different

city each year. In 1959, the city of Tucson , Arizona , as a

gesture of respect and gratitude, presented the Doolittle Raiders

with a set of 80 silver goblets. Each goblet was engraved with

the name of a Raider.

 

Every year, a wooden display case bearing all 80 goblets is

transported to the reunion city. Each time a Raider passes away,

his goblet is turned upside down in the case at the next reunion,

as his old friends bear solemn witness.

 

Also in the wooden case is a bottle of 1896 Hennessy Very Special

cognac. The year is not happenstance: 1896 was when Jimmy

Doolittle was born.

There has always been a plan: When there are only two surviving

Raiders, they would open the bottle, at last drink from it, and

toast their comrades who preceded them in death.

As 2013 began, there were five living Raiders; then, in February,

Tom Griffin passed away at age 96.

 

What a man he was. After bailing out of his plane over a

mountainous Chinese forest after the Tokyo raid, he became ill

with malaria, and almost died. When he recovered, he was sent to

Europe to fly more combat missions. He was shot down, captured,

and spent 22 months in a German prisoner of war camp.

The selflessness of these men, the sheer guts ... there was a

passage in the Cincinnati Enquirer obituary for Mr. Griffin that,

on the surface, had nothing to do with the war, but that

emblematizes the depth of his sense of duty and devotion:

"When his wife became ill and needed to go into a nursing home,

he visited her every day. He walked from his house to the nursing

home, fed his wife and at the end of the day brought home her

clothes. At night, he washed and ironed her clothes. Then he

walked them up to her room the next morning. He did that for

three years until her death in 2005."

So now, out of the original 80, only four Raiders remain: Dick

Cole (Doolittle's co-pilot on the Tokyo raid), Robert Hite,

Edward Saylor and David Thatcher. All are in their 90s. They have

decided that there are too few of them for the public reunions to

continue.

The events in Fort Walton Beach marked the end. It

has come full circle; Florida 's nearby Eglin Field was where the

Raiders trained in secrecy for the Tokyo mission. The town

planned to do all it can to honor the men: a six-day celebration

of their valor, including luncheons, a dinner and a parade.

Do the men ever wonder if those of us for whom they helped save

the country have tended to it in a way that is worthy of their

sacrifice? They don't talk about that, at least not around other

people. But if you find yourself near Fort Walton Beach this

week, and if you should encounter any of the Raiders, you might

want to offer them a word of thanks. I can tell you from

firsthand observation that they appreciate hearing that they are

remembered.

The men have decided that after this final public reunion they

will wait until a later date -- some time this year -- to get

together once more, informally and in absolute privacy. That is

when they will open the bottle of brandy. The years are flowing

by too swiftly now; they are not going to wait until there are

only two of them.

They will fill the four remaining upturned goblets.

And raise them in a toast to those who are gone.

 

Their 70th Anniversary Photo

PLEASE SEND THIS ON TO EVERYONE IN YOUR ADDRESS BOOK, ESPECIALLY

TO THOSE WHO WERE TOO YOUNG TO KNOW ABOUT THESE GUYS. THIS SHOULD

BE READ BY EVERY KID IN GRADE AND HIGH SCHOOL SO THEY KNOW WHAT

HAPPENED.

Available body styles include three-door coupé / hatchback and five-door hatchback, plus a saloon version in certain markets. The saloon version is manufactured in Argentina, where it is sold alongside the three-door version; it is exported from there to Brazil and Hungary as the C4 Pallas, and to Spain as the C4 Berline. A four-door saloon version is also built and sold in China as the Citroën C-Triomphe.

 

A seven-seater compact MPV version, the Grand C4 Picasso, was introduced in 2006, while a five-seater called the C4 Picasso was introduced in 2007.

 

A panel van based on the coupé bodyshell is available in some markets, including Ireland.

Album: Cinematheque Tangier, November 21, 2013 - May 18, 2014, Burnet Gallery.

The exhibition Album: Cinematheque Tangier, a project by Yto Barrada includes films, artworks, and artifacts that speak to the artist’s connection with the social and political realities that shape her hometown—its rich and fractured history of migration, indigenous communities, and colonization. In the gallery, screenings of short works from the archive of Cinémathèque de Tanger and the Walker’s Ruben/Bentson Collection reflect life in the region from the 1930s to the present. Sculptures by Barrada—Palm Sign and a set of dioramas that depict cinemas during the heyday of grand theaters—are presented with her film Hand-Me-Downs (2011), a montage of Super 8 home movies from the 1960s. Artist-commissioned and vintage movie posters and a Scopitone “music jukebox” featuring films made by North African migrant workers in 1960s Paris are also on view. Together, these elements create an album that portrays Morocco’s rich and complex visual and cinematic culture.

Curators: Sheryl Mousley and Clara Kim

Includes one handmade denim jacket, ONE pair of denim-striped socks Licca OR Takara size. Edges are intentionally frayed, and Fray-block was applied to edges to minimize future fraying.

Julie Murray, a senior staff attorney at Planned Parenthood, agreed that the privacy right was not absolute. However, she pointed out the fact that, in 1993 a court ruled that, under the privacy clause that a person on death row was entitled to bodily autonomy which stopped the state from requiring the inmate to undergo medication that could render the inmate "competent" enough to be executed. The right to autonomy, she argued ought to extend even to mothers who have reached 6 weeks pregnant.

 

She said that six weeks claimed was the time that women even knew they were pregnant. "Whether it takes you 10 days or a month to figure that out, that's a decision that should be left to women," Ms. Murray argued.

 

The decision of Thursday's court indicated that justices were disposed to the argument, pointing out that the state's ban on abortions at 6 weeks "in many instances completely forecloses" the possibility of having an abortion.

 

The justices are not officially partisan However, they are appointed for 10-year terms by the general assembly of the state that is run by Republicans.

 

Justice Kaye Hearn, who was the author of the opinion released this Thursday is sole woman and second woman to be a judge in the Court. Chief Justice Donald Beatty, the second Black justice appointed in the years following Reconstruction was also a part of the decision along together with Justice John C. Few.

 

Justice Hearn seemed to indicate an understanding of the abortionists during oral arguments.

 

www.dream11today.com/south-carolina-constitution-includes...

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.

 

November 10, 2018 at 9:00pm- November 11, 3:00am at Reading Rooms

 

As always NEoN celebrates its festival with a late night party. Acts include cosmic drone duo, Art of the Memory Palace, NEoN’s Resident DJ RHL playing funky house beats alongside DJ Nina Stanger’s synthy disco sounds. A visual feast will be provided by USA based artist Cassie McQuater whose narrative, machinima-based visual story, Women In A Video Game, sees animations of stock-models fight, dance, and swim in an expansive world of colourful glitches, fantasy creatures, and alien overlords.

 

About the Artists

 

Cassie McQuater (USA) – is a new media and video game artist currently living and working in Los Angeles, CA. Her practice involves hours of surfing the net, mining for digital artifacts, and repurposing them as a way to reflect on and reinvent our relationship with interactive storytelling. Cassie’s visual story, Woman In a Video Game, will intertwine with a live performance by Art of the Memory Palace.

 

Art of the Memory Palace (UK) – is a group ascending through a cosmic void of pulsing synthesizer oscillation, narcotic soundscapes and enigmatic vocal echoes. Their live set will be animated by the gorgeous glitchy projected visuals of Cassie McQuater.

 

DJ Nina Stanger (UK) – Nina is an AV artist, designer and DJ. Myth and ritual combined with digital media and sculptural making are at the core of her creative practice. Along side Djing for NEoN Nina’s AV work, Standing Wave, will be filling the space. Standing Wave references the historical phenomena of the siren, a rendered representation of the she-beast for the digital age.

 

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.

  

Includes:

- Custom Stock

- Custom Grip

- Custom Trigger Guard

- Custom Front Iron Sight

Also.....

- It was only a quick 10 minute project (Just to let you guys know).

 

Pastie: pastie.org/1740834

 

**Please Comment On My First Kit**

This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.

 

The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.

 

The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.

 

Electronic timing was provided by RedTagTiming: www.redtagtiming.com/

Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/

 

This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.

 

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Overall Race Summary

Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.

Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.

Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.

Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails

Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.

 

Some Useful Links

Official Race Event Website: www.forestmarathon.com/

The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371

A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781

Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/

Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/

Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...

A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...

Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O

Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park

Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115

Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...

More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...

 

How can I get a full resolution copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available offline, free, at no cost, at full image resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

  

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The Bell AH-1 SuperCobra is a twin-engined attack helicopter that was developed on behalf of, and primarily operated by, the United States Marine Corps (USMC). The twin Cobra family, itself part of the larger Huey family, includes the AH-1J SeaCobra, the AH-1T Improved SeaCobra, and the AH-1W SuperCobra. The Super Cobra was derived from the single-engine AH-1 Cobra, which had been developed during the mid-1960s as an interim gunship for the U.S. Army. The USMC had quickly taken an interest in the type but sought a twin-engine arrangement for greater operational safety at sea, along with more capable armaments. While initially opposed by the Department of Defense, who were keen to promote commonality across the services, in May 1968, an order for an initial 49 twin-engine AH-1J SeaCobras was issued to Bell. The type entered service during the final months of the US's involvement in the Vietnam War, seeing limited action in the theatre as a result.

 

The USMC promptly sought greater payload capacity than that provided by the original Sea Cobra; thus the AH-1T, equipped with the dynamic systems of the Model 309 and a lengthened fuselage, was produced by Bell during the 1970s. In the following decade, in response to the denial of funding to procure the Boeing AH-64 Apache attack helicopter, the USMC opted to procure a more capable variant of the AH-1T; equipped with revised fire control systems compatible with new munitions, such as the AGM-114 Hellfire anti-tank missile, the new model, designated AH-1W, commenced delivery in 1986.

 

In the early 1980s, the Marine Corps sought a new navalized helicopter. Accordingly, it evaluated the Boeing AH-64 Apache attack helicopter as first choice over a two-week period in September 1981, which included shipboard operation tests. Furthermore, various concepts were studied at this time. However, the service's request for funding to purchase the AH-64 was denied by Congress that same year. As an alternative option, the Marines procured a more powerful version of the AH-1T. Other changes included modified fire control systems to carry and fire AIM-9 Sidewinder and AGM-114 Hellfire missiles. The new version, which was funded by Congress, received the AH-1W designation. During March 1986, deliveries of the AH-1W SuperCobra commenced, eventually totaling 179 new-built helicopters along with the upgrading of 43 existing AH-1Ts.

 

This development also fell into the period when Great Britain was looking for a potential attack helicopter for the British Army, and Western Germany was - together with France - about to mutually develop a new attack helicopter that would in Germany replace the PAH-1, the light Bo 105 helicopter armed with six HOT anti-tank missiles. In 1984, the French and West German governments had issued a requirement for an advanced antitank helicopter, with one variant desired by the French dedicated to the escort and antihelicopter role. As originally planned, both countries would procure a total of 427 helicopters called “Tiger”. The West Germans planned on acquiring 212 models of the anti-tank variant named PAH-2 (Panzerabwehrhubschrauber or "Anti-tank helicopter"), with deliveries starting at the end of 1992. The French wanted 75 HAPs (Hélicoptère d'Appui Protection or "Support and Escort Helicopter") and 140 HACs (Hélicoptère Anti Char or "Anti-Tank Helicopter"), with deliveries starting at the end of 1991 and 1995, respectively. In the meantime, the USA also offered both the AH-1 as well as the more modern AH-64 as alternatives.

 

Development of the Tiger started during the Cold War, and it was initially intended as a pure anti-tank helicopter platform to be used against a Soviet ground invasion of Western Europe. A joint venture, consisting of Aérospatiale and MBB, was subsequently chosen as the preferred supplier, but in 1986 the development program was already canceled again due to spiraling costs: it had been officially calculated that supplying the German forces with an equivalent number of US-produced McDonnell Douglas AH-64 Apache attack helicopters would have been a considerably cheaper alternative to proceeding with the Tiger’s development, which became a more and more complex project because the helicopter would have to be able to fulfill more roles, and the duty profiles of Germany and France became significantly different. According to statements by the French Defence Minister André Giraud in April 1986, the collaborative effort had become more expensive than an individual national program and was also forecast to take longer to complete.

 

This opened the door for American proposals even wider, and beyond the state-of-the-art AH-64 Bell proposed a further upgraded two-engine AH-1W. Bell had been working as a private initiative with both the AH-1T+ demonstrator and the AH-1W prototype, and developed a new experimental hingeless rotor system with four composite blades, designed to withstand up to 23 mm rounds and thus greatly improving battlefield survivability. This new main rotor was manually foldable, reduced vibrations and allowed the engine power to be increased, thus greatly improving the SuperCobra’s performance and load capabilities. The twin engine’s power had until then been restricted, but in the AH-1-4BW the power was liberated to full 1,800 shp (1,342 kW), with a reinforced gearbox that could even cope with 2.400 shp. Top speed climbed by 23 mph/37 km/h, rate of climb improved, and the load capability was raised by 1.000 lb (450 kg). The AH-1-4BW was now able to fly a full looping, something the AH-1 had not been able to do before. However, empty weight of this demonstrator helicopter climbed to 12,189 lb (5,534 kg) and the maximum TOW to 18,492 lb (8.391 kg).

 

Other changes included a different position for the stabilizers further aft, closer to the tail rotor, which furthermore received small end plates to improve directional stability. The modified AH-1W prototype was aptly re-designated “AH-1-4BW” (4BW standing for “4-blade whiskey”), and there were plans to upgrade the type even further with a fully digitalized cockpit to meet contemporary requirements, e.g. for the British Army.

 

The West-German Bundesluftwaffe’s interest in the “outdated” AH-1 was initially only lukewarm, but when Bell offered to lend the AH-1-4BW prototype for evaluations and as a development mule for the eventual integration of the European HOT missile and indigenous sensors and avionics, a mutual agreement was signed in late 1987 to have the AH-1-4BW tested by the Luftwaffe in the environment where the type would be operated.

The AH-1-4BW prototype (s/n 166 022) was delivered to Manching in Southern Germany in summer 1988 on board of a C-5 Galaxy. It was operated by the Luftwaffe’s Wehrtechnische Dienststelle (WTD, Technical and Airworthiness Center for Aircraft) 61 for two years and successfully made several tests. This program was divided into three “Phases”. “Phase I” included focused on flight characteristics, tactical operations, and mock air-to-air combat against Luftwaffe CH-53s which acted as Mi-24 aggressors. Upon program start the AH-1-4BW received German markings, the registration 98+11, and a new, subdued paint scheme in Luftwaffe colors instead of the original USMC scheme in an overall medium green.

 

In “Phase I” the AH-1-4BW retained its American weapon systems, as the flight testing did not involve weapon deployment or integration. Instead, dummies or target designators were carried. After these initial tests that lasted almost a year Bell agreed to let the WTD 61 modify the AH-1-4BW further with European avionics to deploy the HOT 3 anti-tank missile, which would be the helicopter’s primal weapon in the German Heeresflieger’s service, since Germany did at that time neither use the similar American TOW nor the more sophisticated AGM-114 Hellfire, even though the German PARS 3 LR missile (also known as TRIGAT-LR: Third Generation AntiTank, Long Range) was already under development since 1988. This upgrade and test program section received the designation “Phase II”. Outwardly, the newly modified AH-1 was recognizable through a different sensor turret in the nose and a modified HOT missile sight for the gunner in the front seat.

 

In late 1989 the helicopter underwent another modification by WTD 61, which was to test equipment already intended for the PAH-2. Under the trials’ final “Phase III” the AH-1-4BW received a globular fairing on a mast on top of the main rotor, to test the tactical value of observing, identifying, and selecting targets while the helicopter would remain in cover. This sensor mast combined a panoramic IR camera with a targeting sight for anti-tank missiles and the gun turret, and it functionally replaced the standard chin sensor turret (which was brought back to AH-1W standard). Another novel feature was a streamlined, sugar scope-shaped exhaust diffusor with two chambers which guided hot gases upwards into the main rotor’s downwash, as an alternative to the original diffusors which only mixed cold ambient air with the hot efflux. It turned out to be very effective and was subsequently adapted for the Tiger. Other changes included a new hingeless three-blade tail rotor that was supposed to reduce operational noise and frequency issues with the new 4-blade main rotor, and the endplate stabilizers were enlarged to compensate for the huge “eyeball” on top of the main rotor which significantly changed the AH-1’s flight characteristics, especially at high speed.

 

Further tests of the Phase III SuperCobra lasted until summer 1990 and provided both Bell as well as the Luftwaffe with valuable benchmark data for further weapon system developments. When the lease contract ended in 1991, the AH-1-4BW was sent back to the United States. In the meantime, though, the political situation had changed dramatically. The USSR had ceased to exist, so that the Cold War threat especially in Europe had ended almost overnight after the Aérospatiale/MBB joint venture, now officially called Eurocopter, had signed an agreement in 1989 which financially secured the majority of the Tiger’s pending development through to serial production, including arrangements for two assembly lines to be built at Aerospatiale's Marignane plant and MBB's Donauwörth facility. This eventually saved the Tiger and in 1991 it had become clear that no American attack helicopter would be bought by either Germany or France. Great Britain as another potential European customer also declined the AH-1 and eventually procured the more modern AH-64 in the form of the license-built AgustaWestland Apache.

 

In 1992, the Eurocopter Group was officially established, and the Tiger moved closer to the hardware stage; this led to considerable consolidation of the aerospace industry and the Tiger project itself. A major agreement was struck in December 1996 between France and Germany that cemented the Tiger's prospects and committed the development of supporting elements, such as a series of new generation missile designs for use by the new helicopter. National political issues continued to affect the prospects of the Tiger, however. A proposed sale of up to 145 Tigers to Turkey proved a source of controversy; Turkey selected the Tiger as the preferred option, but conflicting attitudes between Eurocopter, France and Germany regarding military exports led to Turkey withdrawing its interest. Eventually, Turkey procured AH-1s and started an indigenous attack helicopter program.

 

However, the AH-1-4BW’s development and its vigorous testing in Germany were not in vain: Lacking a USMC contract, Bell developed this new design into the AH-1Z with its own funds during the 1990s and 2000s. By 1996, the Marines were again prevented from ordering the AH-64: developing a marine version of the Apache would have been expensive and it was likely that the Marine Corps would be its only customer. Instead, the service signed a contract for the upgrading of AH-1Ws into AH-1Zs, which incorporated many elements from the AH-1-4BW.

  

General characteristics:

Crew: Two (pilot, co-pilot/gunner)

Length: 58 ft 0 in (17.68 m) overall

45 ft 7 in (14 m) for fuselage only

Width: 10 ft 9 in (3.28 m) for stub wings only

Height: 13 ft 9 in (4.19 m)

13 ft 9 in (4.19 m) incl. Phase III sensor mast

Main rotor diameter: 42 ft 8 in (13.00 m)

Airfoil: blade root: DFVLR DM-H3; blade tip: DFVLR DM-H4

Main rotor area: 1,428.9 sq ft (132.75 m2)

Empty weight: 12,189 lb (5,534 kg)

Max. take-off weight: 18,492 lb (8.391 kg)

 

Powerplant:

2× General Electric T700-401 turboshaft engine, with 1,800 shp (1,342 kW)

 

Performance:

Maximum speed: 190 kn (220 mph, 350 km/h)

Never exceed speed: 190 kn (220 mph, 350 km/h)

Range: 317 nmi (365 mi, 587 km)

Service ceiling: 12,200 ft (3,700 m)

Rate of climb: 1,620 ft/min (8.2 m/s)

 

Armament:

1× 20 mm (0.787 in) M197 3-barreled Gatling cannon

in the A/A49E-7 chin turret (750 rounds ammo capacity)

4× hardpoints under the stub wings for a wide range of weapons, including…

- 20 mm (0.787 in) autocannon pods

- Twenty-two round pods with 68 mm (2.68 in) SNEB unguided rockets,

- Nineteen or seven round pods with 2.75” (70 mm) Hydra 70 or APKWS II rockets,

- 5” (127 mm) Zuni rockets – 8 rockets in two 4-round LAU-10D/A launchers

- Up to 8 TOW missiles in two 4-round XM65 missile launchers, on outboard hardpoints, or

up to 8 HOT3

up to 8 AGM-114 Hellfire missiles in 4-round M272 missile launchers, on outboard hardpoint,

- Up to 2 AIM-9 Sidewinder anti-aircraft missiles, launch rails above each outboard hardpoint or

up to 2 Air-to-Air Stinger (ATAS) air-to-air missiles in single launch tubes

  

The kit and its assembly:

This what-if model was inspired by the real attempts of Bell to sell a twin-engine Cobra variant to Germany as a replacement for the light PAH-1/Bo 105 helicopter, while plans were made to build an indigenous successor together with France which eventually became the PAH-2/Tiger. These proposals fell well into the time frame of the (also) real AH-14BW project, and I imagined that this specific helicopter had been lent to the Luftwaffe for evaluation?

 

The basis is the Italeri 1:72 AH-1W kit, a solid basis which requires some work, though. And because I had the remains of a French Tigre at hand (which gave its cockpit for my recent JASDF A-2 build) I decided to use some of the leftover parts for something that borders a kitbashing. This includes the 4-blade main and 3-blade tail rotor, and I integrated the Tiger’s scoop-shaped exhaust diffusor behind the main rotor – a tricky task that require a lot of PSR, but the result looks very natural, if not elegant? The Tiger’s end plate stabilizers were used, too, mounted to the AH-1’s trim stabilizers that were mounted further back, as on the real AH-1-4BW.

 

To change the look even further I decided to add a sensor pod on top of the main rotor, and this required a totally new mechanical solution to hold the latter. Eventually I integrated a sleeve for a fixed metal axis which also holds the sensor ball (from a MisterCraft Westland Lynx – a bit oversized, but suitable for a prototype), and the PAH-2 rotor received an arrangement of levers that hold it in place and still allow it to spin.

 

The ordnance was also taken from the Italeri Tigre, with HOT quadruple launchers for the outer weapon stations, the inner hardpoints were left empty and I also did not mount the American chaff/flare dispensers on top of the stub wings.

  

Painting and markings:

The Luftwaffe did a LOT of interesting camouflage experiments in the early Eighties, adopting several standardized schemes for aircraft, but the Heeresflieger were less enthusiastic and retained the overall Gelboliv (RAL 6014) scheme before a three-color camouflage, consisting of two green tones and a dirty black was gradually introduced – even though apparently not in a uniform fashion, because there were variations for the darker shade of green (retaining RAL 6014 or using FS 34079, as on the Luftwaffe Norm ’83 scheme that was applied to Tornado IDSs, RF-4Es, some Starfighters and to the Transall fleet).

 

My fictional AH-1-4BW would fall into that transitional phase and I decided to give the helicopter an experimental scheme, which was used/tested on early Tornado IDS, consisting of RAL 7021 (Teerschwarz), RAL 7012 (Basaltgrau) and RAL 6014 (Gelboliv) – on aircraft with undersides in RAL 7000 (Silbergrau), but on a helicopter rather as a wraparound scheme. However, inspired by Luftwaffe F-4Fs with a modified Norm ‘72 splinter scheme that added a simple light grey fin to break up the aircrafts’ profile in a side view, I used RAL 7030 (Steingrau) on the tail tip to achieve the same effect, and the light grey was also used, together with Basaltgrau und Gelboliv mottles on the sensor ball – looks a bit like WWII Luftwaffe style, but appeared plausible for the system’s tactical use from behind some ground cover. The cockpit interior became very dark grey, just like the rotor blades, which were adorned with orange warning markings at the tips – seen on some Luftwaffe helicopters instead of classic yellow or red-white-red bands.

 

The decals were puzzled together from various sources. National markings came from generic Luftwaffe sheets from TL Modellbau, the light blue WTD 61 emblems behind the cockpit were taken from a Peddinghaus decal sheet with early Luftwaffe unit markings. The dayglo panels were created with generic decal material (TL Modellbau, too) and stencils came mostly from a Fujimi AH-1 sheet, procuring German or even multi-language material appeared too tedious and costly.

The photo calibration markings on nose and fins were improvised from black and white decal sheet material, punched out, cut into quarters, and then applied as circles. Adds an experimental touch to the Cobra!

 

The kit received a light black ink washing and some post-panel-shading, esp. to brighten up the grey and increase the contrast between the camouflage tones, which appeared even more murky after the dayglow stripes had been added. Finally, the Cobra received an overall coat wit matt acrylic varnish, position lights were added/painted, and the sensor ball received sights made from yellow chrome PET foil, simply punched out and fixed into place with some Humbrol Clearfix.

  

This one took a while to materialize and was more work than one might expect at first glance. But it looks quite cool, esp. the PAH-2/Tiger’s exhaust fairing fits very well into the Cobra’s lines and adds an elegant touch to the helicopter. The “Eye ball” is a bit large, yes, but IMHO acceptable for a prototype or test vehicle. And the livery certainly conveys a German touch.

NOLA 2018 - Easter Sunday Parades

 

The story goes that the daughter of Count Arnaud started the Historic French Quarter Parade close to 100 years ago. Today the parade starts at 9:45 a.m. at Antoine's Restaurant (715 Rue St. Louis). It includes a stop for the 11 a.m. mass at the St. Louis Cathedral and resume parading at noon after a promenade in Jackson Square.

 

The parade features stylish ladies in lovely hats handing out goodies via both carriages and convertibles and disbands in front of Antoine's where the ladies promenade through the main dining room handing out stuffed bunnies and Easter trinkets to the patrons.

 

Easter Sunday's lineup of parades starts early that morning with The Historic French Quarter Easter Parade from Antoine's Restaurant at 9:45 a.m. to St. Louis Cathedral for 11:00 a.m. Mass. The parade, consisting largely of mule-drawn carriages and old convertibles, makes its leisurely, roundabout way through the French Quarter, handing out stuffed Easter bunnies to the kids, along with other trinkets.

 

Following Mass, participants in the parade promenade to Jackson Square opposite the Cathedral to show off their Easter bonnets and other finery before returning to Antoine's. Awards are given out for the best Easter bonnets, Easter baskets and overall Easter attire.

 

Later, around 1:00 p.m. is the Chris Owens French Quarter Easter Parade. This tradition, which began back in the early 1980s, features renowned French Quarter singer, dancer and all-around entertainer Chris Owens as the Grand Duchess. She stands proudly on her gaily decorated float, assisted by elegantly attired attendants while decked out in one of her stunning, tight-fitting outfits.

 

The parade starts at the corner of Canal and Bourbon streets and makes its way through the French Quarter, past the Chris Owens Club at 500 Bourbon, with colorful floats and vintage convertibles and accompanied by one or more of the city's famous brass bands. Plus dance groups and other entertainers. And, of course, since this is a New Orleans parade, there will be plenty of throws - Easter-themed - to catch from the floats and the open-top cars. This parade is a sight you'll never forget!

 

Then, later in the afternoon, is yet another parade, the Gay Easter Parade, put on by the city's GLBT community. Being nowhere near as wild or extravagant as a Mardi Gras parade, but rather family-friendly, the Gay Easter Parade takes a leisurely route through the French Quarter, passing every gay bar and many gay-owned restaurants and retail shops. The paraders ride horse-drawn carriages or floats while wearing showy versions of their Easter Sunday finest. Don't be surprised if you see a gaggle of motorcycle dudes in leather and Easter bonnets might roar by. Spectators can expect to see (and catch!) plenty of beads and other throws.

 

( Deux semaines a Nola pour la ville et pour WWE Wrestlemania XXXIV

Two weeks Nola for the city and for WWE Wrestlemania XXXIV )

Final Project:

You will be required to work on a project that includes photographing (a minimum of) five different individuals in the style of your choice. Once you have selected the style, keep it consistent throughout the series.

 

You will also need:

 

1. an establishing shot (an image that tells us something about your idea. For example if you were to do a series of chefs the establishing shot could be a close-up of a measuring spoons.)

2. a self-portrait, with a brief artist statement

   

Side Note: A lot of thing didn't come through like I had wanted. Had flakey models, then scored on a really expressive friend of a friend, and I got these new to me models that showed up and kicked ass, then I got severely sick and ended up in urgent care Monday, etc. But hopefully I was able to get domestic abuse portrayed like I wanted to. I decided not to try for sexual abuse because no matter how I tried it, it could be construed as porn, and that isn't something I wish to ever touch upon.

 

Artist's Statement:

Emmy's work is influenced by elements in the world that most people consider to be imperfect, broken, or weak. She builds upon imperfection because it is the only true indicator of character and beauty. She captures imperfection as the summit of her art. She is inspired by things that surround her every day, and uses them as a creative base. As the proud divorced, single mother of five closely spaced children she has no shortage of material from which to draw.

 

With her work, it is difficult to ignore the obvious experience and background Emmy has in graphic design. In addition to photography and graphic design, she is an entrepreneur, business ideas person, CEO of a small assessment corporation, movie scriptwriter, mother, and friend to all, even those pesky telemarketers if they happen to catch her on the telephone at home.

 

The most important thing to Emmy is the opportunity to create art. To be an artist, even an unknown one, is more important to her than going forth and finding notoriety. She feels the only way for her to create is to continue growing as an artist whether by introducing new techniques, new mediums, or a combination of both. Her primary focus is on creating art that reaches across boundaries. She creates art that speaks figuratively and demands its own place within its world. She tries to create art that will link people to her, and with her.

 

Fast Facts on Domestic Violence

 

Battering on women is the most under reported crime in America.

 

Domestic violence is the leading cause of injury to women between the ages of 15 and 44 in the United States; more than car accidents, muggings, and rapes combined. "Violence Against Women, A Majority Staff Report," Committee on the Judiciary, United States Senate, 102nd Congress, October 1992, p.3.

 

Three to four million women in the United States are beaten in their homes each year by their husbands, ex-husbands, or male lovers. "Women and Violence," Hearings before the U.S. Senate Judiciary Committee, August 29 and December 11, 1990, Senate Hearing 101-939, pt. 1, p. 12.

 

One woman is beaten by her husband or partner every 15 seconds in the United States. Uniform Crime Reports, Federal Bureau of Investigation, 1991.

 

About 1 out of 4 women are likely to be abused by a partner in her lifetime. Sara Glazer, "Violence, Against Women" CO Researcher, Congressional Quarterly, Inc., Volume 3, Number 8, February, 1993, p. 171.

 

Approximately 95% of the victims of domestic violence are women. Statistics, National Clearinghouse for the Defense of Battered Women, Ruth Peachey, M.D. 1988.

 

Police report that between 40% and 60% of the calls they receive, especially on the night shift, are domestic violence disputes. Carrillo, Roxann "Violence Against Women: An Obstacle to Development," Human Development Report, 1990.

 

Battering occurs among people of all races, ages, socio-economic classes, religious affiliations, occupations, and educational backgrounds.

 

Fifty percent of all homeless women and children in this country are fleeing domestic violence. Senator Joseph Biden, U.S. Senate Committee on the Judiciary, Violence Against Women: Victims of the System, 1991.

 

A battering incident is rarely an isolated event.

 

Battering tends to increase and become more violent over time.

 

Many batterers learned violent behavior growing up in an abusive family.

 

25% - 45% of all women who are battered are battered during pregnancy.

 

Domestic violence does not end immediately with separation. Over 70% of the women injured in domestic violence cases are injured after separation.

 

Domestic violence is not only physical and sexual violence but also psychological. Psychological violence means intense and repetitive degradation, creating isolation, and controlling the actions or behaviors of the spouse through intimidation or manipulation to the detriment of the individual. "Five Year State Master Plan for the Prevention of and Service for Domestic Violence." Utah State Department of Human Services, January 1994.

The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

 

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

 

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

  

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Some Useful Links

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

 

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

 

How can I get a full resolution, no watermark, copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Some people offer payment for our photographs. We do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would pay for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

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I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

  

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The Bell AH-1 SuperCobra is a twin-engined attack helicopter that was developed on behalf of, and primarily operated by, the United States Marine Corps (USMC). The twin Cobra family, itself part of the larger Huey family, includes the AH-1J SeaCobra, the AH-1T Improved SeaCobra, and the AH-1W SuperCobra. The Super Cobra was derived from the single-engine AH-1 Cobra, which had been developed during the mid-1960s as an interim gunship for the U.S. Army. The USMC had quickly taken an interest in the type but sought a twin-engine arrangement for greater operational safety at sea, along with more capable armaments. While initially opposed by the Department of Defense, who were keen to promote commonality across the services, in May 1968, an order for an initial 49 twin-engine AH-1J SeaCobras was issued to Bell. The type entered service during the final months of the US's involvement in the Vietnam War, seeing limited action in the theatre as a result.

 

The USMC promptly sought greater payload capacity than that provided by the original Sea Cobra; thus the AH-1T, equipped with the dynamic systems of the Model 309 and a lengthened fuselage, was produced by Bell during the 1970s. In the following decade, in response to the denial of funding to procure the Boeing AH-64 Apache attack helicopter, the USMC opted to procure a more capable variant of the AH-1T; equipped with revised fire control systems compatible with new munitions, such as the AGM-114 Hellfire anti-tank missile, the new model, designated AH-1W, commenced delivery in 1986.

 

In the early 1980s, the Marine Corps sought a new navalized helicopter. Accordingly, it evaluated the Boeing AH-64 Apache attack helicopter as first choice over a two-week period in September 1981, which included shipboard operation tests. Furthermore, various concepts were studied at this time. However, the service's request for funding to purchase the AH-64 was denied by Congress that same year. As an alternative option, the Marines procured a more powerful version of the AH-1T. Other changes included modified fire control systems to carry and fire AIM-9 Sidewinder and AGM-114 Hellfire missiles. The new version, which was funded by Congress, received the AH-1W designation. During March 1986, deliveries of the AH-1W SuperCobra commenced, eventually totaling 179 new-built helicopters along with the upgrading of 43 existing AH-1Ts.

 

This development also fell into the period when Great Britain was looking for a potential attack helicopter for the British Army, and Western Germany was - together with France - about to mutually develop a new attack helicopter that would in Germany replace the PAH-1, the light Bo 105 helicopter armed with six HOT anti-tank missiles. In 1984, the French and West German governments had issued a requirement for an advanced antitank helicopter, with one variant desired by the French dedicated to the escort and antihelicopter role. As originally planned, both countries would procure a total of 427 helicopters called “Tiger”. The West Germans planned on acquiring 212 models of the anti-tank variant named PAH-2 (Panzerabwehrhubschrauber or "Anti-tank helicopter"), with deliveries starting at the end of 1992. The French wanted 75 HAPs (Hélicoptère d'Appui Protection or "Support and Escort Helicopter") and 140 HACs (Hélicoptère Anti Char or "Anti-Tank Helicopter"), with deliveries starting at the end of 1991 and 1995, respectively. In the meantime, the USA also offered both the AH-1 as well as the more modern AH-64 as alternatives.

 

Development of the Tiger started during the Cold War, and it was initially intended as a pure anti-tank helicopter platform to be used against a Soviet ground invasion of Western Europe. A joint venture, consisting of Aérospatiale and MBB, was subsequently chosen as the preferred supplier, but in 1986 the development program was already canceled again due to spiraling costs: it had been officially calculated that supplying the German forces with an equivalent number of US-produced McDonnell Douglas AH-64 Apache attack helicopters would have been a considerably cheaper alternative to proceeding with the Tiger’s development, which became a more and more complex project because the helicopter would have to be able to fulfill more roles, and the duty profiles of Germany and France became significantly different. According to statements by the French Defence Minister André Giraud in April 1986, the collaborative effort had become more expensive than an individual national program and was also forecast to take longer to complete.

 

This opened the door for American proposals even wider, and beyond the state-of-the-art AH-64 Bell proposed a further upgraded two-engine AH-1W. Bell had been working as a private initiative with both the AH-1T+ demonstrator and the AH-1W prototype, and developed a new experimental hingeless rotor system with four composite blades, designed to withstand up to 23 mm rounds and thus greatly improving battlefield survivability. This new main rotor was manually foldable, reduced vibrations and allowed the engine power to be increased, thus greatly improving the SuperCobra’s performance and load capabilities. The twin engine’s power had until then been restricted, but in the AH-1-4BW the power was liberated to full 1,800 shp (1,342 kW), with a reinforced gearbox that could even cope with 2.400 shp. Top speed climbed by 23 mph/37 km/h, rate of climb improved, and the load capability was raised by 1.000 lb (450 kg). The AH-1-4BW was now able to fly a full looping, something the AH-1 had not been able to do before. However, empty weight of this demonstrator helicopter climbed to 12,189 lb (5,534 kg) and the maximum TOW to 18,492 lb (8.391 kg).

 

Other changes included a different position for the stabilizers further aft, closer to the tail rotor, which furthermore received small end plates to improve directional stability. The modified AH-1W prototype was aptly re-designated “AH-1-4BW” (4BW standing for “4-blade whiskey”), and there were plans to upgrade the type even further with a fully digitalized cockpit to meet contemporary requirements, e.g. for the British Army.

 

The West-German Bundesluftwaffe’s interest in the “outdated” AH-1 was initially only lukewarm, but when Bell offered to lend the AH-1-4BW prototype for evaluations and as a development mule for the eventual integration of the European HOT missile and indigenous sensors and avionics, a mutual agreement was signed in late 1987 to have the AH-1-4BW tested by the Luftwaffe in the environment where the type would be operated.

The AH-1-4BW prototype (s/n 166 022) was delivered to Manching in Southern Germany in summer 1988 on board of a C-5 Galaxy. It was operated by the Luftwaffe’s Wehrtechnische Dienststelle (WTD, Technical and Airworthiness Center for Aircraft) 61 for two years and successfully made several tests. This program was divided into three “Phases”. “Phase I” included focused on flight characteristics, tactical operations, and mock air-to-air combat against Luftwaffe CH-53s which acted as Mi-24 aggressors. Upon program start the AH-1-4BW received German markings, the registration 98+11, and a new, subdued paint scheme in Luftwaffe colors instead of the original USMC scheme in an overall medium green.

 

In “Phase I” the AH-1-4BW retained its American weapon systems, as the flight testing did not involve weapon deployment or integration. Instead, dummies or target designators were carried. After these initial tests that lasted almost a year Bell agreed to let the WTD 61 modify the AH-1-4BW further with European avionics to deploy the HOT 3 anti-tank missile, which would be the helicopter’s primal weapon in the German Heeresflieger’s service, since Germany did at that time neither use the similar American TOW nor the more sophisticated AGM-114 Hellfire, even though the German PARS 3 LR missile (also known as TRIGAT-LR: Third Generation AntiTank, Long Range) was already under development since 1988. This upgrade and test program section received the designation “Phase II”. Outwardly, the newly modified AH-1 was recognizable through a different sensor turret in the nose and a modified HOT missile sight for the gunner in the front seat.

 

In late 1989 the helicopter underwent another modification by WTD 61, which was to test equipment already intended for the PAH-2. Under the trials’ final “Phase III” the AH-1-4BW received a globular fairing on a mast on top of the main rotor, to test the tactical value of observing, identifying, and selecting targets while the helicopter would remain in cover. This sensor mast combined a panoramic IR camera with a targeting sight for anti-tank missiles and the gun turret, and it functionally replaced the standard chin sensor turret (which was brought back to AH-1W standard). Another novel feature was a streamlined, sugar scope-shaped exhaust diffusor with two chambers which guided hot gases upwards into the main rotor’s downwash, as an alternative to the original diffusors which only mixed cold ambient air with the hot efflux. It turned out to be very effective and was subsequently adapted for the Tiger. Other changes included a new hingeless three-blade tail rotor that was supposed to reduce operational noise and frequency issues with the new 4-blade main rotor, and the endplate stabilizers were enlarged to compensate for the huge “eyeball” on top of the main rotor which significantly changed the AH-1’s flight characteristics, especially at high speed.

 

Further tests of the Phase III SuperCobra lasted until summer 1990 and provided both Bell as well as the Luftwaffe with valuable benchmark data for further weapon system developments. When the lease contract ended in 1991, the AH-1-4BW was sent back to the United States. In the meantime, though, the political situation had changed dramatically. The USSR had ceased to exist, so that the Cold War threat especially in Europe had ended almost overnight after the Aérospatiale/MBB joint venture, now officially called Eurocopter, had signed an agreement in 1989 which financially secured the majority of the Tiger’s pending development through to serial production, including arrangements for two assembly lines to be built at Aerospatiale's Marignane plant and MBB's Donauwörth facility. This eventually saved the Tiger and in 1991 it had become clear that no American attack helicopter would be bought by either Germany or France. Great Britain as another potential European customer also declined the AH-1 and eventually procured the more modern AH-64 in the form of the license-built AgustaWestland Apache.

 

In 1992, the Eurocopter Group was officially established, and the Tiger moved closer to the hardware stage; this led to considerable consolidation of the aerospace industry and the Tiger project itself. A major agreement was struck in December 1996 between France and Germany that cemented the Tiger's prospects and committed the development of supporting elements, such as a series of new generation missile designs for use by the new helicopter. National political issues continued to affect the prospects of the Tiger, however. A proposed sale of up to 145 Tigers to Turkey proved a source of controversy; Turkey selected the Tiger as the preferred option, but conflicting attitudes between Eurocopter, France and Germany regarding military exports led to Turkey withdrawing its interest. Eventually, Turkey procured AH-1s and started an indigenous attack helicopter program.

 

However, the AH-1-4BW’s development and its vigorous testing in Germany were not in vain: Lacking a USMC contract, Bell developed this new design into the AH-1Z with its own funds during the 1990s and 2000s. By 1996, the Marines were again prevented from ordering the AH-64: developing a marine version of the Apache would have been expensive and it was likely that the Marine Corps would be its only customer. Instead, the service signed a contract for the upgrading of AH-1Ws into AH-1Zs, which incorporated many elements from the AH-1-4BW.

  

General characteristics:

Crew: Two (pilot, co-pilot/gunner)

Length: 58 ft 0 in (17.68 m) overall

45 ft 7 in (14 m) for fuselage only

Width: 10 ft 9 in (3.28 m) for stub wings only

Height: 13 ft 9 in (4.19 m)

13 ft 9 in (4.19 m) incl. Phase III sensor mast

Main rotor diameter: 42 ft 8 in (13.00 m)

Airfoil: blade root: DFVLR DM-H3; blade tip: DFVLR DM-H4

Main rotor area: 1,428.9 sq ft (132.75 m2)

Empty weight: 12,189 lb (5,534 kg)

Max. take-off weight: 18,492 lb (8.391 kg)

 

Powerplant:

2× General Electric T700-401 turboshaft engine, with 1,800 shp (1,342 kW)

 

Performance:

Maximum speed: 190 kn (220 mph, 350 km/h)

Never exceed speed: 190 kn (220 mph, 350 km/h)

Range: 317 nmi (365 mi, 587 km)

Service ceiling: 12,200 ft (3,700 m)

Rate of climb: 1,620 ft/min (8.2 m/s)

 

Armament:

1× 20 mm (0.787 in) M197 3-barreled Gatling cannon

in the A/A49E-7 chin turret (750 rounds ammo capacity)

4× hardpoints under the stub wings for a wide range of weapons, including…

- 20 mm (0.787 in) autocannon pods

- Twenty-two round pods with 68 mm (2.68 in) SNEB unguided rockets,

- Nineteen or seven round pods with 2.75” (70 mm) Hydra 70 or APKWS II rockets,

- 5” (127 mm) Zuni rockets – 8 rockets in two 4-round LAU-10D/A launchers

- Up to 8 TOW missiles in two 4-round XM65 missile launchers, on outboard hardpoints, or

up to 8 HOT3

up to 8 AGM-114 Hellfire missiles in 4-round M272 missile launchers, on outboard hardpoint,

- Up to 2 AIM-9 Sidewinder anti-aircraft missiles, launch rails above each outboard hardpoint or

up to 2 Air-to-Air Stinger (ATAS) air-to-air missiles in single launch tubes

  

The kit and its assembly:

This what-if model was inspired by the real attempts of Bell to sell a twin-engine Cobra variant to Germany as a replacement for the light PAH-1/Bo 105 helicopter, while plans were made to build an indigenous successor together with France which eventually became the PAH-2/Tiger. These proposals fell well into the time frame of the (also) real AH-14BW project, and I imagined that this specific helicopter had been lent to the Luftwaffe for evaluation?

 

The basis is the Italeri 1:72 AH-1W kit, a solid basis which requires some work, though. And because I had the remains of a French Tigre at hand (which gave its cockpit for my recent JASDF A-2 build) I decided to use some of the leftover parts for something that borders a kitbashing. This includes the 4-blade main and 3-blade tail rotor, and I integrated the Tiger’s scoop-shaped exhaust diffusor behind the main rotor – a tricky task that require a lot of PSR, but the result looks very natural, if not elegant? The Tiger’s end plate stabilizers were used, too, mounted to the AH-1’s trim stabilizers that were mounted further back, as on the real AH-1-4BW.

 

To change the look even further I decided to add a sensor pod on top of the main rotor, and this required a totally new mechanical solution to hold the latter. Eventually I integrated a sleeve for a fixed metal axis which also holds the sensor ball (from a MisterCraft Westland Lynx – a bit oversized, but suitable for a prototype), and the PAH-2 rotor received an arrangement of levers that hold it in place and still allow it to spin.

 

The ordnance was also taken from the Italeri Tigre, with HOT quadruple launchers for the outer weapon stations, the inner hardpoints were left empty and I also did not mount the American chaff/flare dispensers on top of the stub wings.

  

Painting and markings:

The Luftwaffe did a LOT of interesting camouflage experiments in the early Eighties, adopting several standardized schemes for aircraft, but the Heeresflieger were less enthusiastic and retained the overall Gelboliv (RAL 6014) scheme before a three-color camouflage, consisting of two green tones and a dirty black was gradually introduced – even though apparently not in a uniform fashion, because there were variations for the darker shade of green (retaining RAL 6014 or using FS 34079, as on the Luftwaffe Norm ’83 scheme that was applied to Tornado IDSs, RF-4Es, some Starfighters and to the Transall fleet).

 

My fictional AH-1-4BW would fall into that transitional phase and I decided to give the helicopter an experimental scheme, which was used/tested on early Tornado IDS, consisting of RAL 7021 (Teerschwarz), RAL 7012 (Basaltgrau) and RAL 6014 (Gelboliv) – on aircraft with undersides in RAL 7000 (Silbergrau), but on a helicopter rather as a wraparound scheme. However, inspired by Luftwaffe F-4Fs with a modified Norm ‘72 splinter scheme that added a simple light grey fin to break up the aircrafts’ profile in a side view, I used RAL 7030 (Steingrau) on the tail tip to achieve the same effect, and the light grey was also used, together with Basaltgrau und Gelboliv mottles on the sensor ball – looks a bit like WWII Luftwaffe style, but appeared plausible for the system’s tactical use from behind some ground cover. The cockpit interior became very dark grey, just like the rotor blades, which were adorned with orange warning markings at the tips – seen on some Luftwaffe helicopters instead of classic yellow or red-white-red bands.

 

The decals were puzzled together from various sources. National markings came from generic Luftwaffe sheets from TL Modellbau, the light blue WTD 61 emblems behind the cockpit were taken from a Peddinghaus decal sheet with early Luftwaffe unit markings. The dayglo panels were created with generic decal material (TL Modellbau, too) and stencils came mostly from a Fujimi AH-1 sheet, procuring German or even multi-language material appeared too tedious and costly.

The photo calibration markings on nose and fins were improvised from black and white decal sheet material, punched out, cut into quarters, and then applied as circles. Adds an experimental touch to the Cobra!

 

The kit received a light black ink washing and some post-panel-shading, esp. to brighten up the grey and increase the contrast between the camouflage tones, which appeared even more murky after the dayglow stripes had been added. Finally, the Cobra received an overall coat wit matt acrylic varnish, position lights were added/painted, and the sensor ball received sights made from yellow chrome PET foil, simply punched out and fixed into place with some Humbrol Clearfix.

  

This one took a while to materialize and was more work than one might expect at first glance. But it looks quite cool, esp. the PAH-2/Tiger’s exhaust fairing fits very well into the Cobra’s lines and adds an elegant touch to the helicopter. The “Eye ball” is a bit large, yes, but IMHO acceptable for a prototype or test vehicle. And the livery certainly conveys a German touch.

Private Robert Quantrill

 

Amended - see comments below. For now I'm not quite sure who is commemorated here.

 

From a wander around the Arctic Snow Hotel, near Rovaniemi, Finland. They have cosy looking cabins with glass roofs to give that sleeping under the stars feel. Inside the cold part, there are designer rooms, an ice bar, restaurant and chapel

A cancer diet includes a rainbow of vegetables for a balance of nutrients and phytochemicals.

Action from the St Mary's Trophy, part 2, at the Goodwood Revival.

From last night's concert given by the Brighton and Hove Russian Choir, held as part of the Steyning Festival. The Steyning Camera Club have been asked to shoot the events, so expect more in the coming months. Whilst Traditional Russian Folk, is not exactly my kind of music, it was harmoniously easy on the ear and choir's leader was full of infectious energy

 

www.steyningfestival.co.uk/

russianchoir.wordpress.com/

This vast museum includes a large collection of railway exhibits, appropriately housed inside a former railway Works. The 33 tracks are accessed by the two massive turntables outdoors that are shown on my photo. The carriage visible is a bit too long for the tracks inside! Exhibits include electric, diesel and steam engines, and passenger rolling stock. Some of the steam engines are in "as withdrawn" condition, demonstrating the reality of the steam era: My photo of one of those work-stained engines can be seen here:

www.flickr.com/photos/93936890@N02/33757181515/in/album-7...

 

Rail enthusiasts should set aside a day to look around this, or much more to do justice to aircraft, ships, cars and the other sections of this huge, wonderful museum.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The Bell AH-1 SuperCobra is a twin-engined attack helicopter that was developed on behalf of, and primarily operated by, the United States Marine Corps (USMC). The twin Cobra family, itself part of the larger Huey family, includes the AH-1J SeaCobra, the AH-1T Improved SeaCobra, and the AH-1W SuperCobra. The Super Cobra was derived from the single-engine AH-1 Cobra, which had been developed during the mid-1960s as an interim gunship for the U.S. Army. The USMC had quickly taken an interest in the type but sought a twin-engine arrangement for greater operational safety at sea, along with more capable armaments. While initially opposed by the Department of Defense, who were keen to promote commonality across the services, in May 1968, an order for an initial 49 twin-engine AH-1J SeaCobras was issued to Bell. The type entered service during the final months of the US's involvement in the Vietnam War, seeing limited action in the theatre as a result.

 

The USMC promptly sought greater payload capacity than that provided by the original Sea Cobra; thus the AH-1T, equipped with the dynamic systems of the Model 309 and a lengthened fuselage, was produced by Bell during the 1970s. In the following decade, in response to the denial of funding to procure the Boeing AH-64 Apache attack helicopter, the USMC opted to procure a more capable variant of the AH-1T; equipped with revised fire control systems compatible with new munitions, such as the AGM-114 Hellfire anti-tank missile, the new model, designated AH-1W, commenced delivery in 1986.

 

In the early 1980s, the Marine Corps sought a new navalized helicopter. Accordingly, it evaluated the Boeing AH-64 Apache attack helicopter as first choice over a two-week period in September 1981, which included shipboard operation tests. Furthermore, various concepts were studied at this time. However, the service's request for funding to purchase the AH-64 was denied by Congress that same year. As an alternative option, the Marines procured a more powerful version of the AH-1T. Other changes included modified fire control systems to carry and fire AIM-9 Sidewinder and AGM-114 Hellfire missiles. The new version, which was funded by Congress, received the AH-1W designation. During March 1986, deliveries of the AH-1W SuperCobra commenced, eventually totaling 179 new-built helicopters along with the upgrading of 43 existing AH-1Ts.

 

This development also fell into the period when Great Britain was looking for a potential attack helicopter for the British Army, and Western Germany was - together with France - about to mutually develop a new attack helicopter that would in Germany replace the PAH-1, the light Bo 105 helicopter armed with six HOT anti-tank missiles. In 1984, the French and West German governments had issued a requirement for an advanced antitank helicopter, with one variant desired by the French dedicated to the escort and antihelicopter role. As originally planned, both countries would procure a total of 427 helicopters called “Tiger”. The West Germans planned on acquiring 212 models of the anti-tank variant named PAH-2 (Panzerabwehrhubschrauber or "Anti-tank helicopter"), with deliveries starting at the end of 1992. The French wanted 75 HAPs (Hélicoptère d'Appui Protection or "Support and Escort Helicopter") and 140 HACs (Hélicoptère Anti Char or "Anti-Tank Helicopter"), with deliveries starting at the end of 1991 and 1995, respectively. In the meantime, the USA also offered both the AH-1 as well as the more modern AH-64 as alternatives.

 

Development of the Tiger started during the Cold War, and it was initially intended as a pure anti-tank helicopter platform to be used against a Soviet ground invasion of Western Europe. A joint venture, consisting of Aérospatiale and MBB, was subsequently chosen as the preferred supplier, but in 1986 the development program was already canceled again due to spiraling costs: it had been officially calculated that supplying the German forces with an equivalent number of US-produced McDonnell Douglas AH-64 Apache attack helicopters would have been a considerably cheaper alternative to proceeding with the Tiger’s development, which became a more and more complex project because the helicopter would have to be able to fulfill more roles, and the duty profiles of Germany and France became significantly different. According to statements by the French Defence Minister André Giraud in April 1986, the collaborative effort had become more expensive than an individual national program and was also forecast to take longer to complete.

 

This opened the door for American proposals even wider, and beyond the state-of-the-art AH-64 Bell proposed a further upgraded two-engine AH-1W. Bell had been working as a private initiative with both the AH-1T+ demonstrator and the AH-1W prototype, and developed a new experimental hingeless rotor system with four composite blades, designed to withstand up to 23 mm rounds and thus greatly improving battlefield survivability. This new main rotor was manually foldable, reduced vibrations and allowed the engine power to be increased, thus greatly improving the SuperCobra’s performance and load capabilities. The twin engine’s power had until then been restricted, but in the AH-1-4BW the power was liberated to full 1,800 shp (1,342 kW), with a reinforced gearbox that could even cope with 2.400 shp. Top speed climbed by 23 mph/37 km/h, rate of climb improved, and the load capability was raised by 1.000 lb (450 kg). The AH-1-4BW was now able to fly a full looping, something the AH-1 had not been able to do before. However, empty weight of this demonstrator helicopter climbed to 12,189 lb (5,534 kg) and the maximum TOW to 18,492 lb (8.391 kg).

 

Other changes included a different position for the stabilizers further aft, closer to the tail rotor, which furthermore received small end plates to improve directional stability. The modified AH-1W prototype was aptly re-designated “AH-1-4BW” (4BW standing for “4-blade whiskey”), and there were plans to upgrade the type even further with a fully digitalized cockpit to meet contemporary requirements, e.g. for the British Army.

 

The West-German Bundesluftwaffe’s interest in the “outdated” AH-1 was initially only lukewarm, but when Bell offered to lend the AH-1-4BW prototype for evaluations and as a development mule for the eventual integration of the European HOT missile and indigenous sensors and avionics, a mutual agreement was signed in late 1987 to have the AH-1-4BW tested by the Luftwaffe in the environment where the type would be operated.

The AH-1-4BW prototype (s/n 166 022) was delivered to Manching in Southern Germany in summer 1988 on board of a C-5 Galaxy. It was operated by the Luftwaffe’s Wehrtechnische Dienststelle (WTD, Technical and Airworthiness Center for Aircraft) 61 for two years and successfully made several tests. This program was divided into three “Phases”. “Phase I” included focused on flight characteristics, tactical operations, and mock air-to-air combat against Luftwaffe CH-53s which acted as Mi-24 aggressors. Upon program start the AH-1-4BW received German markings, the registration 98+11, and a new, subdued paint scheme in Luftwaffe colors instead of the original USMC scheme in an overall medium green.

 

In “Phase I” the AH-1-4BW retained its American weapon systems, as the flight testing did not involve weapon deployment or integration. Instead, dummies or target designators were carried. After these initial tests that lasted almost a year Bell agreed to let the WTD 61 modify the AH-1-4BW further with European avionics to deploy the HOT 3 anti-tank missile, which would be the helicopter’s primal weapon in the German Heeresflieger’s service, since Germany did at that time neither use the similar American TOW nor the more sophisticated AGM-114 Hellfire, even though the German PARS 3 LR missile (also known as TRIGAT-LR: Third Generation AntiTank, Long Range) was already under development since 1988. This upgrade and test program section received the designation “Phase II”. Outwardly, the newly modified AH-1 was recognizable through a different sensor turret in the nose and a modified HOT missile sight for the gunner in the front seat.

 

In late 1989 the helicopter underwent another modification by WTD 61, which was to test equipment already intended for the PAH-2. Under the trials’ final “Phase III” the AH-1-4BW received a globular fairing on a mast on top of the main rotor, to test the tactical value of observing, identifying, and selecting targets while the helicopter would remain in cover. This sensor mast combined a panoramic IR camera with a targeting sight for anti-tank missiles and the gun turret, and it functionally replaced the standard chin sensor turret (which was brought back to AH-1W standard). Another novel feature was a streamlined, sugar scope-shaped exhaust diffusor with two chambers which guided hot gases upwards into the main rotor’s downwash, as an alternative to the original diffusors which only mixed cold ambient air with the hot efflux. It turned out to be very effective and was subsequently adapted for the Tiger. Other changes included a new hingeless three-blade tail rotor that was supposed to reduce operational noise and frequency issues with the new 4-blade main rotor, and the endplate stabilizers were enlarged to compensate for the huge “eyeball” on top of the main rotor which significantly changed the AH-1’s flight characteristics, especially at high speed.

 

Further tests of the Phase III SuperCobra lasted until summer 1990 and provided both Bell as well as the Luftwaffe with valuable benchmark data for further weapon system developments. When the lease contract ended in 1991, the AH-1-4BW was sent back to the United States. In the meantime, though, the political situation had changed dramatically. The USSR had ceased to exist, so that the Cold War threat especially in Europe had ended almost overnight after the Aérospatiale/MBB joint venture, now officially called Eurocopter, had signed an agreement in 1989 which financially secured the majority of the Tiger’s pending development through to serial production, including arrangements for two assembly lines to be built at Aerospatiale's Marignane plant and MBB's Donauwörth facility. This eventually saved the Tiger and in 1991 it had become clear that no American attack helicopter would be bought by either Germany or France. Great Britain as another potential European customer also declined the AH-1 and eventually procured the more modern AH-64 in the form of the license-built AgustaWestland Apache.

 

In 1992, the Eurocopter Group was officially established, and the Tiger moved closer to the hardware stage; this led to considerable consolidation of the aerospace industry and the Tiger project itself. A major agreement was struck in December 1996 between France and Germany that cemented the Tiger's prospects and committed the development of supporting elements, such as a series of new generation missile designs for use by the new helicopter. National political issues continued to affect the prospects of the Tiger, however. A proposed sale of up to 145 Tigers to Turkey proved a source of controversy; Turkey selected the Tiger as the preferred option, but conflicting attitudes between Eurocopter, France and Germany regarding military exports led to Turkey withdrawing its interest. Eventually, Turkey procured AH-1s and started an indigenous attack helicopter program.

 

However, the AH-1-4BW’s development and its vigorous testing in Germany were not in vain: Lacking a USMC contract, Bell developed this new design into the AH-1Z with its own funds during the 1990s and 2000s. By 1996, the Marines were again prevented from ordering the AH-64: developing a marine version of the Apache would have been expensive and it was likely that the Marine Corps would be its only customer. Instead, the service signed a contract for the upgrading of AH-1Ws into AH-1Zs, which incorporated many elements from the AH-1-4BW.

  

General characteristics:

Crew: Two (pilot, co-pilot/gunner)

Length: 58 ft 0 in (17.68 m) overall

45 ft 7 in (14 m) for fuselage only

Width: 10 ft 9 in (3.28 m) for stub wings only

Height: 13 ft 9 in (4.19 m)

13 ft 9 in (4.19 m) incl. Phase III sensor mast

Main rotor diameter: 42 ft 8 in (13.00 m)

Airfoil: blade root: DFVLR DM-H3; blade tip: DFVLR DM-H4

Main rotor area: 1,428.9 sq ft (132.75 m2)

Empty weight: 12,189 lb (5,534 kg)

Max. take-off weight: 18,492 lb (8.391 kg)

 

Powerplant:

2× General Electric T700-401 turboshaft engine, with 1,800 shp (1,342 kW)

 

Performance:

Maximum speed: 190 kn (220 mph, 350 km/h)

Never exceed speed: 190 kn (220 mph, 350 km/h)

Range: 317 nmi (365 mi, 587 km)

Service ceiling: 12,200 ft (3,700 m)

Rate of climb: 1,620 ft/min (8.2 m/s)

 

Armament:

1× 20 mm (0.787 in) M197 3-barreled Gatling cannon

in the A/A49E-7 chin turret (750 rounds ammo capacity)

4× hardpoints under the stub wings for a wide range of weapons, including…

- 20 mm (0.787 in) autocannon pods

- Twenty-two round pods with 68 mm (2.68 in) SNEB unguided rockets,

- Nineteen or seven round pods with 2.75” (70 mm) Hydra 70 or APKWS II rockets,

- 5” (127 mm) Zuni rockets – 8 rockets in two 4-round LAU-10D/A launchers

- Up to 8 TOW missiles in two 4-round XM65 missile launchers, on outboard hardpoints, or

up to 8 HOT3

up to 8 AGM-114 Hellfire missiles in 4-round M272 missile launchers, on outboard hardpoint,

- Up to 2 AIM-9 Sidewinder anti-aircraft missiles, launch rails above each outboard hardpoint or

up to 2 Air-to-Air Stinger (ATAS) air-to-air missiles in single launch tubes

  

The kit and its assembly:

This what-if model was inspired by the real attempts of Bell to sell a twin-engine Cobra variant to Germany as a replacement for the light PAH-1/Bo 105 helicopter, while plans were made to build an indigenous successor together with France which eventually became the PAH-2/Tiger. These proposals fell well into the time frame of the (also) real AH-14BW project, and I imagined that this specific helicopter had been lent to the Luftwaffe for evaluation?

 

The basis is the Italeri 1:72 AH-1W kit, a solid basis which requires some work, though. And because I had the remains of a French Tigre at hand (which gave its cockpit for my recent JASDF A-2 build) I decided to use some of the leftover parts for something that borders a kitbashing. This includes the 4-blade main and 3-blade tail rotor, and I integrated the Tiger’s scoop-shaped exhaust diffusor behind the main rotor – a tricky task that require a lot of PSR, but the result looks very natural, if not elegant? The Tiger’s end plate stabilizers were used, too, mounted to the AH-1’s trim stabilizers that were mounted further back, as on the real AH-1-4BW.

 

To change the look even further I decided to add a sensor pod on top of the main rotor, and this required a totally new mechanical solution to hold the latter. Eventually I integrated a sleeve for a fixed metal axis which also holds the sensor ball (from a MisterCraft Westland Lynx – a bit oversized, but suitable for a prototype), and the PAH-2 rotor received an arrangement of levers that hold it in place and still allow it to spin.

 

The ordnance was also taken from the Italeri Tigre, with HOT quadruple launchers for the outer weapon stations, the inner hardpoints were left empty and I also did not mount the American chaff/flare dispensers on top of the stub wings.

  

Painting and markings:

The Luftwaffe did a LOT of interesting camouflage experiments in the early Eighties, adopting several standardized schemes for aircraft, but the Heeresflieger were less enthusiastic and retained the overall Gelboliv (RAL 6014) scheme before a three-color camouflage, consisting of two green tones and a dirty black was gradually introduced – even though apparently not in a uniform fashion, because there were variations for the darker shade of green (retaining RAL 6014 or using FS 34079, as on the Luftwaffe Norm ’83 scheme that was applied to Tornado IDSs, RF-4Es, some Starfighters and to the Transall fleet).

 

My fictional AH-1-4BW would fall into that transitional phase and I decided to give the helicopter an experimental scheme, which was used/tested on early Tornado IDS, consisting of RAL 7021 (Teerschwarz), RAL 7012 (Basaltgrau) and RAL 6014 (Gelboliv) – on aircraft with undersides in RAL 7000 (Silbergrau), but on a helicopter rather as a wraparound scheme. However, inspired by Luftwaffe F-4Fs with a modified Norm ‘72 splinter scheme that added a simple light grey fin to break up the aircrafts’ profile in a side view, I used RAL 7030 (Steingrau) on the tail tip to achieve the same effect, and the light grey was also used, together with Basaltgrau und Gelboliv mottles on the sensor ball – looks a bit like WWII Luftwaffe style, but appeared plausible for the system’s tactical use from behind some ground cover. The cockpit interior became very dark grey, just like the rotor blades, which were adorned with orange warning markings at the tips – seen on some Luftwaffe helicopters instead of classic yellow or red-white-red bands.

 

The decals were puzzled together from various sources. National markings came from generic Luftwaffe sheets from TL Modellbau, the light blue WTD 61 emblems behind the cockpit were taken from a Peddinghaus decal sheet with early Luftwaffe unit markings. The dayglo panels were created with generic decal material (TL Modellbau, too) and stencils came mostly from a Fujimi AH-1 sheet, procuring German or even multi-language material appeared too tedious and costly.

The photo calibration markings on nose and fins were improvised from black and white decal sheet material, punched out, cut into quarters, and then applied as circles. Adds an experimental touch to the Cobra!

 

The kit received a light black ink washing and some post-panel-shading, esp. to brighten up the grey and increase the contrast between the camouflage tones, which appeared even more murky after the dayglow stripes had been added. Finally, the Cobra received an overall coat wit matt acrylic varnish, position lights were added/painted, and the sensor ball received sights made from yellow chrome PET foil, simply punched out and fixed into place with some Humbrol Clearfix.

  

This one took a while to materialize and was more work than one might expect at first glance. But it looks quite cool, esp. the PAH-2/Tiger’s exhaust fairing fits very well into the Cobra’s lines and adds an elegant touch to the helicopter. The “Eye ball” is a bit large, yes, but IMHO acceptable for a prototype or test vehicle. And the livery certainly conveys a German touch.

Include the four 8x10 photos. Really neat stuff.

From a display of hawks and falconry by Breck Falcony at High Beeches in Handcross. This is Bramble, the Kestrel being 'lured in'. I also found out that 'fed up' is a falconry term - when a bird's crop is full, it no long wants to fly.

www.highbeeches.com/index.php

www.breckfalconry.com

From a visit to Goodwood, where the Summer Sprint was underway on the track.

A change of location today, leaving Ajaccio for a hotel further north at Monticello - and some time to chill by the pool

 

Relaxed #43 for the treasure hunt and holiday #42 in 101 pictures

Includes tonjiru (pork miso soup), pickles, unlimited rice and shredded cabbage.

 

Last meal in Hong Kong before our flight back home. T and I decided to pick a place to sit comfortably and the tonkatsu restaurant in IFC fit the part perfectly. Of course it helps that it serves food that we cannot easily get a nicely done version in Toronto.

 

I thoroughly enjoyed the tender juicy deepfried pork chop. The housemade sauce was good too.

Hindu deities are the gods and goddesses in Hinduism. The terms and epithets found in Indian culture, that are translated as deity, varies with the text and diverse traditions within Hinduism, and include Deva, Devi, Ishvara, Bhagavan and Bhagavathi.[1][2][note 1]

 

The deities of Hinduism have evolved from Vedic era (2nd millennium BCE) through medieval era (1st millennium CE), regionally within India and in southeast Asia, and across Hinduism's diverse traditions.[3][4] The Hindu deity concept varies from a personal god as in Yoga school of Hindu philosophy,[5][6] to 33 Vedic deities,[7] to hundreds of Puranic deities, to millions of deities in Tantra traditions of Hinduism.[8] Illustrations of major deities include Vishnu, Sri (Lakshmi), Shiva, Parvati (Durga), Brahma and Saraswati. These deities have distinct and complex personalities, yet often viewed as aspects of the same Ultimate Reality called Brahman.[9][note 2] From ancient times, the idea of equivalence has been cherished in Hinduism, in its texts and in early 1st millennium sculpture with concepts such as Harihara (half Shiva, half Vishnu),[10] Ardhanarishvara (half Shiva, half Parvati) or Vaikuntha Kamalaja (half Vishnu, half Lakshmi),[11] with mythologies and temples that feature them together, declaring they are the same.[12][13][14] Major deities have inspired their own Hindu traditions, such as Vaishnavism, Shaivism and Shaktism, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[15][16][17] Some Hindu traditions such as Smartism from mid 1st millennium CE, have included multiple major deities as henotheistic manifestations of Saguna Brahman, and as a means to realizing Nirguna Brahman.[18][19][20]

 

Hindu deities are represented with various icons and anicons, in paintings and sculptures, called Murtis and Pratimas.[21][22][23] Some Hindu traditions, such as ancient Charvakas rejected all deities and concept of god or goddess,[24][25][26] while 19th-century British colonial era movements such as the Arya Samaj and Brahmo Samaj rejected deities and adopted monotheistic concepts similar to Abrahamic religions.[27][28] Hindu deities have been adopted in other religions such as Jainism,[29] and in regions outside India such as predominantly Buddhist Thailand and Japan where they continue to be revered in regional temples or arts.[30][31][32]

 

In ancient and medieval era texts of Hinduism, the human body is described as a temple,[33][34] and deities are described to be parts residing within it,[35][36] while the Brahman (Absolute Reality, God)[18][37] is described to be the same, or of similar nature, as the Atman (self, soul), which Hindus believe is eternal and within every living being.[38][39][40] Deities in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41][42][43]

Deities in Hinduism are referred to as Deva (masculine) and Devi (feminine).[44][45][46] The root of these terms mean "heavenly, divine, anything of excellence".[47] According to Douglas Harper, the etymological roots of Deva mean "a shining one," from *div- "to shine," and it is a cognate with Greek dios "divine" and Zeus, and Latin deus (Old Latin deivos).[48]

 

In the earliest Vedic literature, all supernatural beings are called Asuras.[49][50] By the late Vedic period (~500 BCE), benevolent supernatural beings are referred to as Deva-Asuras. In post-Vedic texts, such as the Puranas and the Itihasas of Hinduism, the Devas represent the good, and the Asuras the bad.[3][4] In some medieval Indian literature, Devas are also referred to as Suras and contrasted with their equally powerful, but malevolent half-brothers referred to as the Asuras.[51]

 

Hindu deities are part of Indian mythology, both Devas and Devis feature in one of many cosmological theories in Hinduism.[52][53]

 

Characteristics of Vedic era deities[edit]

In Vedic literature, Devas and Devis represent the forces of nature and some represent moral values (such as the Adityas, Varuna, and Mitra), each symbolizing the epitome of a specialized knowledge, creative energy, exalted and magical powers (Siddhis).[54][55]

The most referred to Devas in the Rig Veda are Indra, Agni (fire) and Soma, with "fire deity" called the friend of all humanity, it and Soma being the two celebrated in a yajna fire ritual that marks major Hindu ceremonies. Savitr, Vishnu, Rudra (later given the exclusive epithet of Shiva), and Prajapati (later Brahma) are gods and hence Devas.[30]

 

The Vedas describes a number of significant Devis such as Ushas (dawn), Prithvi (earth), Aditi (cosmic moral order), Saraswati (river, knowledge), Vāc (sound), Nirṛti (destruction), Ratri (night), Aranyani (forest), and bounty goddesses such as Dinsana, Raka, Puramdhi, Parendi, Bharati, Mahi among others are mentioned in the Rigveda.[58] Sri, also called Lakshmi, appears in late Vedic texts dated to be pre-Buddhist, but verses dedicated to her do not suggest that her characteristics were fully developed in the Vedic era.[59] All gods and goddesses are distinguished in the Vedic times, but in the post-Vedic texts (~500 BCE to 200 CE), and particularly in the early medieval era literature, they are ultimately seen as aspects or manifestations of one Brahman, the Supreme power.[59][60]

 

Ananda Coomaraswamy states that Devas and Asuras in the Vedic lore are similar to Angels-Theoi-Gods and Titans of Greek mythology, both are powerful but have different orientations and inclinations, the Devas representing the powers of Light and the Asuras representing the powers of Darkness in Hindu mythology.[61][62] According to Coomaraswamy's interpretation of Devas and Asuras, both these natures exist in each human being, the tyrant and the angel is within each being, the best and the worst within each person struggles before choices and one's own nature, and the Hindu formulation of Devas and Asuras is an eternal dance between these within each person.[63][64]

 

The Devas and Asuras, Angels and Titans, powers of Light and powers of Darkness in Rigveda, although distinct and opposite in operation, are in essence consubstantial, their distinction being a matter not of essence but of orientation, revolution or transformation. In this case, the Titan is potentially an Angel, the Angel still by nature a Titan; the Darkness in actu is Light, the Light in potentia Darkness; whence the designations Asura and Deva may be applied to one and the same Person according to the mode of operation, as in Rigveda 1.163.3, "Trita art thou (Agni) by interior operation".

 

— Ananda Coomaraswamy, Journal of the American Oriental Society[65]

Characteristics of medieval era deities[edit]

In the Puranas and the Itihasas with the embedded Bhagavad Gita, the Devas represent the good, and the Asuras the bad.[3][4] According to the Bhagavad Gita (16.6-16.7), all beings in the universe have both the divine qualities (daivi sampad) and the demonic qualities (asuri sampad) within each.[4][66] The sixteenth chapter of the Bhagavad Gita states that pure god-like saints are rare and pure demon-like evil are rare among human beings, and the bulk of humanity is multi-charactered with a few or many faults.[4] According to Jeaneane Fowler, the Gita states that desires, aversions, greed, needs, emotions in various forms "are facets of ordinary lives", and it is only when they turn to lust, hate, cravings, arrogance, conceit, anger, harshness, hypocrisy, violence, cruelty and such negativity- and destruction-inclined that natural human inclinations metamorphose into something demonic (Asura).[4][66]

The Epics and medieval era texts, particularly the Puranas, developed extensive and richly varying mythologies associated with Hindu deities, including their genealogies.[67][68][69] Several of the Purana texts are named after major Hindu deities such as Vishnu, Shiva and Devi.[67] Other texts and commentators such as Adi Shankara explain that Hindu deities live or rule over the cosmic body as well in the temple of human body.[33][70] They remark that the Sun deity is the giver of vision, the Vayu deity the nose, the Prajapati the sexual organs, the Lokapalas (directions) are the ears, moon deity the mind, Mitra deity is the inward breath, Varuna deity is the outward breath, Indra deity the arms, Brhaspati the speech, Vishnu whose stride is great is the feet, and Maya is the smile.[70]

 

Symbolism[edit]

Edelmann states that gods and anti-gods of Hinduism are symbolism for spiritual concepts. For example, god Indra (a Deva) and the antigod Virocana (an Asura) question a sage for insights into the knowledge of the self.[71] Virocana leaves with the first given answer, believing now he can use the knowledge as a weapon. In contrast, Indra keeps pressing the sage, churning the ideas, and learning about means to inner happiness and power. Edelmann suggests that the Deva-Asura dichotomies in Hindu mythology may be seen as "narrative depictions of tendencies within our selves".[71] Hindu deities in Vedic era, states Mahoney, are those artists with "powerfully inward transformative, effective and creative mental powers".[72]

 

In Hindu mythology, everyone starts as an Asura, born of the same father. "Asuras who remain Asura" share the character of powerful beings craving for more power, more wealth, ego, anger, unprincipled nature, force and violence.[73][74] The "Asuras who become Devas" in contrast are driven by an inner voice, seek understanding and meaning, prefer moderation, principled behavior, aligned with Ṛta and Dharma, knowledge and harmony.[73][74][75]

 

The god (Deva) and antigod (Asura), states Edelmann, are also symbolically the contradictory forces that motivate each individual and people, and thus Deva-Asura dichotomy is a spiritual concept rather than mere genealogical category or species of being.[76] In the Bhāgavata Purana, saints and gods are born in families of Asuras, such as Mahabali and Prahlada, conveying the symbolism that motivations, beliefs and actions rather than one's birth and family circumstances define whether one is Deva-like or Asura-like.[76]

Another Hindu term that is sometimes translated as deity is Ishvara, or alternatively various deities are described, state Sorajjakool et al., as "the personifications of various aspects of one and the same Ishvara".[77] The term Ishvara has a wide range of meanings that depend on the era and the school of Hinduism.[78][79][80] In ancient texts of Indian philosophy, Ishvara means supreme soul, Brahman (Highest Reality), ruler, king or husband depending on the context.[78] In medieval era texts, Ishvara means God, Supreme Being, personal god, or special Self depending on the school of Hinduism.[2][80][81]

 

Among the six systems of Hindu philosophy, Samkhya and Mimamsa do not consider the concept of Ishvara, i.e., a supreme being, relevant. Yoga, Vaisheshika, Vedanta and Nyaya schools of Hinduism discuss Ishvara, but assign different meanings.

 

Early Nyaya school scholars considered the hypothesis of a deity as a creator God with the power to grant blessings, boons and fruits; but these early Nyaya scholars then rejected this hypothesis, and were non-theistic or atheists.[25][82] Later scholars of Nyaya school reconsidered this question and offered counter arguments for what is Ishvara and various arguments to prove the existence of omniscient, omnipresent, omnipotent deity (God).[83]

 

Vaisheshika school of Hinduism, as founded by Kanada in 1st millennium BC, neither required nor relied on creator deity.[84][85] Later Vaisheshika school adopted the concept of Ishvara, states Klaus Klostermaier, but as an eternal God who co-exists in the universe with eternal substances and atoms, but He "winds up the clock, and lets it run its course".[84]

 

Ancient Mimamsa scholars of Hinduism questioned what is Ishvara (deity, God)?[86] They considered deity concept unnecessary for a consistent philosophy and moksha (soteriology).[86][87]

 

In Samkhya school of Hindu philosophy, Isvara is neither a creator-God, nor a savior-God.[88] This is called one of the several major atheistic schools of Hinduism by some scholars.[89][90][91] Others, such as Jacobsen, state that Samkhya is more accurately described as non-theistic.[92] Deity is considered an irrelevant concept, neither defined nor denied, in Samkhya school of Hindu philosophy.[93]

 

In Yoga school of Hinduism, it is any "personal deity" (Ishta Deva or Ishta Devata)[94] or "spiritual inspiration", but not a creator God.[81][89] Whicher explains that while Patanjali's terse verses in the Yogasutras can be interpreted both as theistic or non-theistic, Patanjali's concept of Isvara in Yoga philosophy functions as a "transformative catalyst or guide for aiding the yogin on the path to spiritual emancipation".[95]

 

The Advaita Vedanta school of Hinduism asserted that there is no dualistic existence of deity (or deities).[96][97] There is no otherness nor distinction between Jiva and Ishvara.[98][99] God (Ishvara, Brahman) is identical with the Atman (soul) within each human being in Advaita Vedanta school,[100] and there is a monistic Universal Absolute Oneness that connects everyone and everything, states this school of Hinduism.[39][99][101] This school, states Anantanand Rambachan, has "perhaps exerted the most widespread influence".[102]

 

The Dvaita sub-school of Vedanta Hinduism, founded in medieval era, Ishvara is defined as a creator God that is distinct from Jiva (individual souls in living beings).[40] In this school, God creates individual souls, but the individual soul never was and never will become one with God; the best it can do is to experience bliss by getting infinitely close to God.[20]

 

Number of deities[edit]

Yāska, the earliest known language scholar of India (~ 500 BCE), notes Wilkins, mentions that there are three deities (Devas) according to the Vedas, "Agni (fire), whose place is on the earth; Vayu (wind), whose place is the air; and Surya (sun), whose place is in the sky".[107] This principle of three worlds (or zones), and its multiples is found thereafter in many ancient texts. The Samhitas, which are the oldest layer of text in Vedas enumerate 33 devas,[note 3] either 11 each for the three worlds, or as 12 Adityas, 11 Rudras, 8 Vasus and 2 Ashvins in the Brahmanas layer of Vedic texts.[7][47]

 

The Rigveda states in hymn 1.139.11,

 

ये देवासो दिव्येकादश स्थ पृथिव्यामध्येकादश स्थ ।

अप्सुक्षितो महिनैकादश स्थ ते देवासो यज्ञमिमं जुषध्वम् ॥११॥[111]

 

O ye eleven gods whose home is heaven, O ye eleven who make earth your dwelling,

Ye who with might, eleven, live in waters, accept this sacrifice, O gods, with pleasure.

– Translated by Ralph T. H. Griffith[112]

 

Gods who are eleven in heaven; who are eleven on earth;

and who are eleven dwelling with glory in mid-air; may ye be pleased with this our sacrifice.

– Translated by HH Wilson[113]

 

— Rigveda 1.139.11

Millions, one or one-ness?[edit]

Thirty-three divinities are mentioned in other ancient texts, such as the Yajurveda,[114] however, there is no fixed "number of deities" in Hinduism any more than a standard representation of "deity".[115] There is, however, a popular perception stating that there are 330 million (or "33 crore") deities in Hinduism.[116] Most, by far, are goddesses, state Foulston and Abbott, suggesting "how important and popular goddesses are" in Hindu culture.[115] No one has a list of the 330 million goddesses and gods, but all deities, state scholars, are typically viewed in Hinduism as "emanations or manifestation of genderless principle called Brahman, representing the many facets of Ultimate Reality".[115][116][117]

 

This concept of Brahman is not the same as the monotheistic separate God found in Abrahamic religions, where God is considered, states Brodd, as "creator of the world, above and independent of human existence", while in Hinduism "God, the universe, human beings and all else is essentially one thing" and everything is connected oneness, the same god is in every human being as Atman, the eternal Self.[117][118]

Hinduism has an ancient and extensive iconography tradition, particularly in the form of Murti (Sanskrit: मूर्ति, IAST: Mūrti), or Vigraha or Pratima.[22] A Murti is itself not the god in Hinduism, but it is an image of god and represents emotional and religious value.[124] A literal translation of Murti as idol is incorrect, states Jeaneane Fowler, when idol is understood as superstitious end in itself.[124] Just like the photograph of a person is not the real person, a Murti is an image in Hinduism but not the real thing, but in both cases the image reminds of something of emotional and real value to the viewer.[124] When a person worships a Murti, it is assumed to be a manifestation of the essence or spirit of the deity, the worshipper's spiritual ideas and needs are meditated through it, yet the idea of ultimate reality or Brahman is not confined in it.[124]

 

A Murti of a Hindu deity is typically made by carving stone, wood working, metal casting or through pottery. Medieval era texts describing their proper proportions, positions and gestures include the Puranas, Agamas and Samhitas particularly the Shilpa Shastras.[21] The expressions in a Murti vary in diverse Hindu traditions, ranging from Ugra symbolism to express destruction, fear and violence (Durga, Kali), as well as Saumya symbolism to express joy, knowledge and harmony (Saraswati, Lakshmi). Saumya images are most common in Hindu temples.[125] Other Murti forms found in Hinduism include the Linga.[126]

 

A Murti is an embodiment of the divine, the Ultimate Reality or Brahman to some Hindus.[21] In religious context, they are found in Hindu temples or homes, where they may be treated as a beloved guest and serve as a participant of Puja rituals in Hinduism.[127] A murti is installed by priests, in Hindu temples, through the Prana Pratishtha ceremony,[128] whereby state Harold Coward and David Goa, the "divine vital energy of the cosmos is infused into the sculpture" and then the divine is welcomed as one would welcome a friend.[129] In other occasions, it serves as the center of attention in annual festive processions and these are called Utsava Murti.[130]

In Hinduism, deities and their icons may be hosted in a Hindu temple, within a home or as an amulet. The worship performed by Hindus is known by a number of regional names, such as Puja.[134] This practice in front of a murti may be elaborate in large temples, or be a simple song or mantra muttered in home, or offering made to sunrise or river or symbolic anicon of a deity.[135][136][137] Archaeological evidence of deity worship in Hindu temples trace Puja rituals to Gupta Empire era (~4th century CE).[138][139] In Hindu temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.[140][141]

 

The Puja practice is structured as an act of welcoming, hosting, honoring the deity of one's choice as one's honored guest,[142] and remembering the spiritual and emotional significance the deity represents the devotee.[124][134] Jan Gonda, as well as Diana L. Eck, states that a typical Puja involves one or more of 16 steps (Shodasha Upachara) traceable to ancient times: the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, praise (hymns) with Dhupa or Aarti along with food (Naivedhya) is offered to the deity, after an expression of love and respect the host takes leave, and with affection expresses good bye to the deity.[143][144] The worship practice may also involve reflecting on spiritual questions, with image serving as support for such meditation.[145]

 

Deity worship (Bhakti), visiting temples and Puja rituals are not mandatory and is optional in Hinduism; it is the choice of a Hindu, it may be a routine daily affair for some Hindus, periodic ritual or infrequent for some.[146][147] Worship practices in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41]

 

Examples[edit]

Main articles: List of Hindu deities and Rigvedic deities

Major deities have inspired a vast genre of literature such as the Puranas and Agama texts as well their own Hindu traditions, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[16][17] Vishnu and his avatars are at the foundation of Vaishnavism, Shiva for Shaivism, Devi for Shaktism, and some Hindu traditions such as Smarta traditions who revere multiple major deities (five) as henotheistic manifestations of Brahman (absolute metaphysical Reality).[116][148][149]

 

While there are diverse deities in Hinduism, states Lawrence, "Exclusivism – which maintains that only one's own deity is real" is rare in Hinduism.[116] Julius Lipner, and other scholars, state that pluralism and "polycentrism" – where other deities are recognized and revered by members of different "denominations", has been the Hindu ethos and way of life.[16][150]

 

Trimurti and Tridevi[edit]

The concept of Triad (or Trimurti, Trinity) makes a relatively late appearance in Hindu literature, or in the second half of 1st millennium BCE.[151] The idea of triad, playing three roles in the cosmic affairs, is typically associated with Brahma, Vishnu and Shiva (also called Mahesh); however, this is not the only triad in Hindu literature.[152] Other triads include Tridevi, of three goddesses – Lakshmi, Saraswati and Durga in the text Devi Mahatmya, in the Shakta tradition, who further assert that Devi is the Brahman (Ultimate Reality) and it is her energy that empowers Brahma, Vishnu and Shiva.[151] The other triads, formulated as deities in ancient Indian literature, include Sun (creator), Air (sustainer) and Fire (destroyer); Prana (creator), Food (sustainer) and Time (destroyer).[151] These triads, states Jan Gonda, are in some mythologies grouped together without forming a Trinity, and in other times represented as equal, a unity and manifestations of one Brahman.[151] In the Puranas, for example, this idea of threefold "hypostatization" is expressed as follows,

 

They [Brahma, Vishnu, Shiva] exist through each other, and uphold each other; they are parts of one another; they subsist through one another; they are not for a moment separated; they never abandon one another.

 

— Vayu Purana, 5.17, Translated by Jan Gonda[151]

The triad appears in Maitrayaniya Upanishad, for the first time in recognized roles known ever since, where they are deployed to present the concept of three Guṇa – the innate nature, tendencies and inner forces found within every being and everything, whose balance transform and keeps changing the individual and the world.[152][153] It is in the medieval Puranic texts, Trimurti concepts appears in various context, from rituals to spiritual concepts.[151] The Bhagavad Gita, in verses 9.18, 10.21-23 and 11.15, asserts that the triad or trinity is manifestation of one Brahman, which Krishna affirms himself to be.[154] However, suggests Bailey, the mythology of triad is "not the influence nor the most important one" in Hindu traditions, rather the ideologies and spiritual concepts develop on their own foundations.[152]

 

Avatars of Hindu deities[edit]

Hindu mythology has nurtured the concept of Avatar, which represents the descent of a deity on earth.[155][156] This concept is commonly translated as "incarnation",[155] and is an "appearance" or "manifestation".[157][158]

 

The concept of Avatar is most developed in Vaishnavism tradition, and associated with Vishnu, particularly with Rama and Krishna.[159][160] Vishnu takes numerous avatars in Hindu mythology. He becomes female, during the Samudra manthan, in the form of Mohini, to resolve a conflict between the Devas and Asuras. His male avatars include Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki.[160] Various texts, particularly the Bhagavad Gita, discuss the idea of Avatar of Vishnu appearing to restore the cosmic balance whenever the power of evil becomes excessive and causes persistent oppression in the world.[156]

 

In Shaktism traditions, the concept appears in its legends as the various manifestations of Devi, the Divine Mother principal in Hinduism.[161] The avatars of Devi or Parvati include Durga and Kali, who are particularly revered in eastern states of India, as well as Tantra traditions.[162][163][164] Twenty one avatars of Shiva are also described in Shaivism texts, but unlike Vaishnava traditions, Shaiva traditions have focussed directly on Shiva rather than the Avatar concept.[155]

 

The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

 

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

 

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

  

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Some Useful Links

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

 

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

 

How can I get a full resolution, no watermark, copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Some people offer payment for our photographs. We do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would pay for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

  

This bundle includes:

-Spartan Rails Kit

-Durus Follow Focus

-Simplis Quick Release Plate

-Atlas FLT Camera Slider with All Terrain Legs

-Benro B1 Ball Head

 

*Camera and lens not included.

 

Check cinevate.com/festivus for the full list of products and videos available.

 

The Hilton was added to a boycott list that already includes the Grand Hyatt, The Palace, the Westing St. Francis and the W

 

More info at

 

unitehere2.org

 

AFL-CIO President Richard Trumka spoke at a rally

 

www.aflcio.org/aboutus/thisistheaflcio/leaders/officers_t...

 

He then marched to the San Francisco Hilton and participated in a sit-in at the entrance. He was arrested with former Board of Supervisors President Aaron Peskin, Unite Here! president John Wilhelm, Board of Supervisors candidates Debra Walker (D6) and Rafael Mandelman (D8), and over 100 others

 

A video on the events leading up to today

 

www.unitehere.org/detail.php?ID=3172 (there is an email list on the lower right and a link to their facebook group)

   

Some of these photos are at

 

www.demotix.com/news/216914/afl-cio-president-richard-tru...

 

Media coverage (click on the labor collection to see more of my photos of Local 2 actions)

 

blog.aflcio.org/2010/01/06/hotel-workers-trumka-arrested-...

 

abclocal.go.com/kgo/story?section=news/local/san_francisc...

 

www.ktvu.com/news/22144977/detail.html

 

www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/01/05/BU65...

Includes various sculptures and the Seaton Tramway

One of at least 3 Whimbrels at the Widewater Lagoon

These very rich earrings include all the warm shades of cocoa, and remind me of the unique taste of cocoa and its delicious aroma..

 

At the top there's a huge and beautiful microfaceted botswana agate round bead, framed by copper wire and surrounded by tiny round copper beads.

 

Just below there's a very rich bunch of beautiful and flawless smoky quartz faceted rondelles which is atop a black rose made of oynx stone: it's so beautiful and rich in colour!

 

They're 2.16 inches (5.5 cm) long - real copper french wire earring hooks (with coil and daisy) excluded.

 

Very comfortable earrings with vivid and brilliant colours!

 

In Midhurst today for the Independent Goodwood Photographers Guild photo exhibition/competition. One of my images won the "repetition" category. 2 others were short listed in their category, but missed out.

 

As last time, I thought a sepia treatment on the Cowdray ruins suited the scene.

Grasshoppers are insects of the suborder Caelifera within the order Orthoptera, which includes crickets and their allies in the other suborder Ensifera. They are probably the oldest living group of chewing herbivorous insects, dating back to the early Triassic around 250 million years ago. Grasshoppers are typically ground-dwelling insects with powerful hind legs which enable them to escape from threats by leaping vigorously. They are hemimetabolous insects (they do not undergo complete metamorphosis) which hatch from an egg into a nymph or "hopper" which undergoes five moults, becoming more similar to the adult insect at each developmental stage. At high population densities and under certain environmental conditions, some grasshopper species can change colour and behaviour and form swarms. Under these circumstances they are known as locusts.

 

Insects in the group are plant-eaters, with a few species at times becoming serious pests of cereals, vegetables and pasture, especially when they swarm in their millions as locusts and destroy crops over wide areas. They protect themselves from predators by camouflage; when detected, many species attempt to startle the predator with a brilliantly-coloured wing-flash while jumping and (if adult) launching themselves into the air, usually flying for only a short distance. Other species such as the rainbow grasshopper have warning coloration which deters predators. Grasshoppers are affected by parasites and various diseases, and many predatory creatures feed on both nymphs and adults. The eggs are the subject of attack by parasitoids and predators.

 

Grasshoppers have had a long relationship with humans. Swarms of locusts can have devastating effects and cause famine, and even in smaller numbers, the insects can be serious pests. They are used as food in countries such as Mexico and Indonesia. They feature in art, symbolism and literature.

 

CHARACTERISTICS

Grasshoppers have the typical insect body plan of head, thorax and abdomen. The head is held vertically at an angle to the body, with the mouth at the bottom. The head bears a large pair of compound eyes which give all-round vision, three simple eyes which can detect light and dark, and a pair of thread-like antennae that are sensitive to touch and smell. The downward-directed mouthparts are modified for chewing and there are two sensory palps in front of the jaws.

 

The thorax and abdomen are segmented and have a rigid cuticle made up of overlapping plates composed of chitin. The three fused thoracic segments bear three pairs of legs and two pairs of wings. The forewings, known as tegmina, are narrow and leathery while the hindwings are large and membranous, the veins providing strength. The legs are terminated by claws for gripping. The hind leg is particularly powerful; the femur is robust and has several ridges where different surfaces join and the inner ridges bear stridulatory pegs in some species. The posterior edge of the tibia bears a double row of spines and there are a pair of articulated spurs near its lower end. The interior of the thorax houses the muscles that control the wings and legs.

 

The abdomen has eleven segments, the first of which is fused to the thorax and contains the tympanal organ and hearing system. Segments two to eight are ring-shaped and joined by flexible membranes. Segments nine to eleven are reduced in size; segment nine bears a pair of cerci and segments ten and eleven house the reproductive organs. Female grasshoppers are normally larger than males, with short ovipositors. The name of the suborder "Caelifera" comes from the Latin and means chisel-bearing, referring to the shape of the ovipositor.

 

Those species that make easily heard noises usually do so by rubbing a row of pegs on the hind legs against the edges of the forewings (stridulation). These sounds are produced mainly by males to attract females, though in some species the females also stridulate.

 

Grasshoppers may be confused with Ensifera (crickets, etc.), but they differ in many aspects; these include the number of segments in their antennae and the structure of the ovipositor, as well as the location of the tympanal organ and the methods by which sound is produced. Ensiferans have antennae that can be much longer than the body and have at least 20–24 segments, while caeliferans have fewer segments in their shorter, stouter antennae.

 

PHYLOGENY

Grasshoppers belong to the suborder Caelifera. Although, "grasshopper" is sometimes used as a common name for the suborder in general, some sources restrict it to the more "advanced" groups. They may be placed in the infraorder Acrididea and have been referred-to as "short-horned grasshoppers" in older texts to distinguish them from the also-obsolete term "long-horned grasshoppers" (now bush-crickets or katydids) with their much longer antennae. The phylogeny of the Caelifera, based on mitochondrial ribosomal RNA of thirty-two taxa in six out of seven superfamilies, is shown as a cladogram. The Ensifera, Caelifera and all the superfamilies of grasshoppers except Pamphagoidea appear to be monophyletic.

 

In evolutionary terms, the split between the Caelifera and the Ensifera is no more recent than the Permo-Triassic boundary; the earliest insects that are certainly Caeliferans are in the extinct families Locustopseidae and Locustavidae from the early Triassic, roughly 250 million years ago. The group diversified during the Triassic and have remained important plant-eaters from that time to now. The first modern families such as the Eumastacidae, Tetrigidae and Tridactylidae appeared in the Cretaceous, though some insects that might belong to the last two of these groups are found in the early Jurassic. Morphological classification is difficult because many taxa have converged towards a common habitat type; recent taxonomists have concentrated on the internal genitalia, especially those of the male. This information is not available from fossil specimens, and the palaentological taxonomy is founded principally on the venation of the hindwings.

 

The Caelifera includes some 2,400 valid genera and about 11,000 known species. Many undescribed species probably exist, especially in tropical wet forests. The Caelifera have a predominantly tropical distribution with fewer species known from temperate zones, but most of the superfamilies have representatives worldwide. They are almost exclusively herbivorous and are probably the oldest living group of chewing herbivorous insects.

 

The most diverse superfamily is the Acridoidea, with around 8,000 species. The two main families in this are the Acrididae (grasshoppers and locusts) with a worldwide distribution, and the Romaleidae (lubber grasshoppers), found chiefly in the New World. The Ommexechidae and Tristiridae are South American, and the Lentulidae, Lithidiidae and Pamphagidae are mainly African. The Pauliniids are nocturnal and can swim or skate on water, and the Lentulids are wingless. Pneumoridae are native to Africa, particularly southern Africa, and are distinguished by the inflated abdomens of the males.

 

BIOLOGY

DIET AND DIGESTION

Most grasshoppers are polyphagous, eating vegetation from multiple plant sources, but some are omnivorous and also eat animal tissue and animal faeces. In general their preference is for grasses, including many cereals grown as crops. The digestive system is typical of insects, with Malpighian tubules discharging into the midgut. Carbohydrates are digested mainly in the crop, while proteins are digested in the ceca of the midgut. Saliva is abundant but largely free of enzymes, helping to move food and Malpighian secretions along the gut. Some grasshoppers possess cellulase, which by softening plant cell walls makes plant cell contents accessible to other digestive enzymes.

 

SENSORY ORGANS

Grasshoppers have a typical insect nervous system, and have an extensive set of external sense organs. On the side of the head are a pair of large compound eyes which give a broad field of vision and can detect movement, shape, colour and distance. There are also three simple eyes (ocelli) on the forehead which can detect light intensity, a pair of antennae containing olfactory (smell) and touch receptors, and mouthparts containing gustatory (taste) receptors. At the front end of the abdomen there is a pair of tympanal organs for sound reception. There are numerous fine hairs (setae) covering the whole body that act as mechanoreceptors (touch and wind sensors), and these are most dense on the antennae, the palps (part of the mouth), and on the cerci at the tip of the abdomen. There are special receptors (campaniform sensillae) embedded in the cuticle of the legs that sense pressure and cuticle distortion. There are internal "chordotonal" sense organs specialized to detect position and movement about the joints of the exoskeleton. The receptors convey information to the central nervous system through sensory neurons, and most of these have their cell bodies located in the periphery near the receptor site itself.

 

CIRCULATION AMD RESPIRATION

Like other insects, grasshoppers have an open circulatory system and their body cavities are filled with haemolymph. A heart-like structure in the upper part of the abdomen pumps the fluid to the head from where it percolates past the tissues and organs on its way back to the abdomen. This system circulates nutrients throughout the body and carries metabolic wastes to be excreted into the gut. Other functions of the haemolymph include wound healing, heat transfer and the provision of hydrostatic pressure, but the circulatory system is not involved in gaseous exchange. Respiration is performed using tracheae, air-filled tubes, which open at the surfaces of the thorax and abdomen through pairs of valved spiracles. Larger insects may need to actively ventilate their bodies by opening some spiracles while others remain closed, using abdominal muscles to expand and contract the body and pump air through the system.

 

JUMPING

A large grasshopper, such as a locust, can jump about a metre (twenty body lengths) without using its wings; the acceleration peaks at about 20 g. Grasshoppers jump by extending their large back legs and pushing against the substrate (the ground, a twig, a blade of grass or whatever else they are standing on); the reaction force propels them into the air. They jump for several reasons; to escape from a predator, to launch themselves into flight, or simply to move from place to place. For the escape jump in particular there is strong selective pressure to maximize take-off velocity, since this determines the range. This means that the legs must thrust against the ground with both high force and a high velocity of movement. However, a fundamental property of muscle is that it cannot contract with both high force and high velocity at the same time. Grasshoppers overcome this apparent contradiction by using a catapult mechanism to amplify the mechanical power produced by their muscles.

 

The jump is a three-stage process. First, the grasshopper fully flexes the lower part of the leg (tibia) against the upper part (femur) by activating the flexor tibiae muscle (the back legs of the grasshopper in the top photograph are in this preparatory position). Second, there is a period of co-contraction in which force builds up in the large, pennate extensor tibiae muscle, but the tibia is kept flexed by the simultaneous contraction of the flexor tibiae muscle. The extensor muscle is much stronger than the flexor muscle, but the latter is aided by specializations in the joint that give it a large effective mechanical advantage over the former when the tibia is fully flexed. Co-contraction can last for up to half a second, and during this period the extensor muscle shortens and stores elastic strain energy by distorting stiff cuticular structures in the leg. The extensor muscle contraction is quite slow (almost isometric), which allows it to develop high force (up to 14 N in the desert locust), but because it is slow only low power is needed. The third stage of the jump is the trigger relaxation of the flexor muscle, which releases the tibia from the flexed position. The subsequent rapid tibial extension is driven mainly by the relaxation of the elastic structures, rather than by further shortening of the extensor muscle. In this way the stiff cuticle acts like the elastic of a catapult, or the bow of a bow-and-arrow. Energy is put into the store at low power by slow but strong muscle contraction, and retrieved from the store at high power by rapid relaxation of the mechanical elastic structures.

 

STRIDULATION

Male grasshoppers spend much of the day stridulating, singing more actively under optimal conditions and being more subdued when conditions are adverse; females also stridulate, but their efforts are insignificant when compared to the males. Late-stage male nymphs can sometimes be seen making stridulatory movements, although they lack the equipment to make sounds, demonstrating the importance of this behavioural trait. The songs are a means of communication; the male stridulation seems to express reproductive maturity, the desire for social cohesion and individual well-being. Social cohesion becomes necessary among grasshoppers because of their ability to jump or fly large distances, and the song can serve to limit dispersal and guide others to favourable habitat. The generalised song can vary in phraseology and intensity, and is modified in the presence of a rival male, and changes again to a courtship song when a female is nearby. In male grasshoppers of the family Pneumoridae, the enlarged abdomen amplifies stridulation.

 

LIFE CYCLE

In most grasshopper species, conflicts between males over females rarely escalate beyond ritualistic displays. Some exceptions include the chameleon grasshopper (Kosciuscola tristis), where males may fight on top of ovipositing females; engaging in leg grappling, biting, kicking and mounting.

 

The newly emerged female grasshopper has a preoviposition period of a week or two while she increases in weight and her eggs mature. After mating, the female of most species digs a hole with her ovipositor and lays a batch of eggs in a pod in the ground near food plants, generally in the summer. After laying the eggs, she covers the hole with soil and litter. Some, like the semi-aquatic Cornops aquaticum, deposit the pod directly into plant tissue. The eggs in the pod are glued together with a froth in some species. After a few weeks of development, the eggs of most species in temperate climates go into diapause, and pass the winter in this state. Diapause is broken by a sufficiently low ground temperature, with development resuming as soon as the ground warms above a certain threshold temperature. The embryos in a pod generally all hatch out within a few minutes of each other. They soon shed their membranes and their exoskeletons harden. These first instar nymphs can then jump away from predators.

 

Grasshoppers undergo incomplete metamorphosis: they repeatedly moult (undergo ecdysis), each instar becoming larger and more like an adult, with the wing-buds increasing in size at each stage. The number of instars varies between species but is often six. After the final moult, the wings are inflated and become fully functional. The migratory grasshopper, Melanoplus sanguinipes, spends about 25 to 30 days as a nymph, depending on sex and temperature, and lives for about 51 days as an adult.

 

SWARMING

Locusts are the swarming phase of certain species of short-horned grasshoppers in the family Acrididae. Swarming behaviour is a response to overcrowding. Increased tactile stimulation of the hind legs causes an increase in levels of serotonin. This causes the grasshopper to change colour, feed more and breed faster. The transformation of a solitary individual into a swarming one is induced by several contacts per minute over a short period.

 

Following this transformation, under suitable conditions dense nomadic bands of flightless nymphs known as "hoppers" can occur, producing pheromones which attract the insects to each other. With several generations in a year, the locust population can build up from localised groups into vast accumulations of flying insects known as plagues, devouring all the vegetation they encounter. The largest recorded locust swarm was one formed by the now-extinct Rocky Mountain locust in 1875; the swarm was 2,900 km long and 180 km wide, and one estimate puts the number of locusts involved at 3.5 trillion. An adult desert locust can eat about 2 g of plant material each day, so the billions of insects in a large swarm can be very destructive, stripping all the foliage from plants in an affected area and consuming stems, flowers, fruits, seeds and bark.

 

PREDATORS, PARASITES D PAHOGENS

Grasshoppers have a wide range of predators at different stages of their lives; eggs are eaten by bee-flies, ground beetles and blister beetles; hoppers and adults are taken by other insects such as ants, robber flies and sphecid wasps, by spiders, and by many birds and small mammals.

 

The eggs and nymphs are under attack by parasitoids including blow flies, flesh flies, and tachinid flies. External parasites of adults and nymphs include mites. Female grasshoppers parasitised by mites produce fewer eggs and thus have fewer offspring than unaffected individuals.

The grasshopper nematode (Mermis nigrescens) is a long slender worm that infects grasshoppers, living in the insect's hemocoel. Adult worms lay eggs on plants and the host becomes infected when the foliage is eaten. Spinochordodes tellinii and Paragordius tricuspidatus are parasitic worms that infect grasshoppers and alter the behaviour of their hosts. When the worms are sufficiently developed, the grasshopper is persuaded to leap into a nearby body of water where it drowns, thus enabling the parasite to continue with the next stage of its life cycle, which takes place in water.

 

Grasshoppers are affected by diseases caused by bacteria, viruses, fungi and protozoa. The bacteria Serratia marcescens and Pseudomonas aeruginosa have both been implicated in causing disease in grasshoppers, as has the entomopathogenic fungus Beauveria bassiana. This widespread fungus has been used to control various pest insects around the world, but although it infects grasshoppers, the infection is not usually lethal because basking in the sun has the result of raising the insect's temperature above a threshold tolerated by the fungus. The fungal pathogen Entomophaga grylli is able to influence the behaviour of its grasshopper host, causing it to climb to the top of a plant and cling to the stem as it dies. This ensures wide dispersal of the fungal spores liberated from the corpse.

 

The fungal pathogen Metarhizium acridum is found in Africa, Australia and Brazil where it has caused epizootics in grasshoppers. It is being investigated for possible use as a microbial insecticide for locust control. The microsporidian fungus Nosema locustae, once considered to be a protozoan, can be lethal to grasshoppers. It has to be consumed by mouth and is the basis for a bait-based commercial microbial pesticide. Various other microsporidians and protozoans are found in the gut.

 

ANTI-PREDATOR DEFENCES

Grasshoppers exemplify a range of anti-predator adaptations, enabling them to avoid detection, to escape if detected, and in some cases to avoid being eaten if captured. Grasshoppers are often camouflaged to avoid detection by predators that hunt by sight; some species can change their coloration to suit their surroundings.

 

Several species such as the hooded leaf grasshopper Phyllochoreia ramakrishnai (Eumastacoidea) are detailed mimics of leaves. Stick grasshoppers (Proscopiidae) mimic wooden sticks in form and colouration. Grasshoppers often have deimatic patterns on their wings, giving a sudden flash of bright colours that may startle predators long enough to give time to escape in a combination of jump and flight.

 

Some species are genuinely aposematic, having both bright warning coloration and sufficient toxicity to dissuade predators. Dictyophorus productus (Pyrgomorphidae) is a "heavy, bloated, sluggish insect" that makes no attempt to hide; it has a bright red abdomen. A Cercopithecus monkey that ate other grasshoppers refused to eat the species. Another species, the rainbow or painted grasshopper of Arizona, Dactylotum bicolor (Acridoidea), has been shown by experiment with a natural predator, the little striped whiptail lizard, to be aposematic

 

RELATIONSHIP WITH HUMANS

IN ART AND MEDIA

Grasshoppers are occasionally depicted in artworks, such as the Dutch Golden Age painter Balthasar van der Ast's still life oil painting, Flowers in a Vase with Shells and Insects, c. 1630, now in the National Gallery, London, though the insect may be a bush-cricket.

 

Another orthopteran is found in Rachel Ruysch's still life Flowers in a Vase, c. 1685. The seemingly static scene is animated by a "grasshopper on the table that looks about ready to spring", according to the gallery curator Betsy Wieseman, with other invertebrates including a spider, an ant, and two caterpillars.

 

Grasshoppers are also featured in cinema. The 1957 film Beginning of the End portrayed giant grasshoppers attacking Chicago.[59] In the 1998 Pixar film A Bug's Life, the heroes are the members of an ant colony, and the lead villain and his henchmen are grasshoppers.

 

SYMBOLISM

Grasshoppers are sometimes used as symbols, as in Sir Thomas Gresham's gilded grasshopper in Lombard Street, London, dating from 1563;[a] the building was for a while the headquarters of the Guardian Royal Exchange, but the company declined to use the symbol for fear of confusion with the locust.

 

When grasshoppers appear in dreams, these have been interpreted as symbols of "Freedom, independence, spiritual enlightenment, inability to settle down or commit to decision". Locusts are taken literally to mean devastation of crops in the case of farmers; figuratively as "wicked men and women" for non-farmers; and "Extravagance, misfortune, & ephemeral happiness" by "gypsies".

 

AS FOOD

In some countries, grasshoppers are used as food. In southern Mexico, grasshoppers, known as chapulines, are eaten in a variety of dishes, such as in tortillas with chilli sauce. Grasshoppers are served on skewers in some Chinese food markets, like the Donghuamen Night Market. Fried grasshoppers (walang goreng) are eaten in the Gunung Kidul Regency, Yogyakarta, Java in Indonesia. In Native America, the Ohlone people burned grassland to herd grasshoppers into pits where they could be collected as food.

 

It is recorded in the Bible that John the Baptist ate locusts and wild honey (Greek: ἀκρίδες καὶ μέλι ἄγριον, akrídes kaì méli ágrion) while living in the wilderness; attempts have been made to explain the locusts as suitably ascetic vegetarian food such as carob beans, but the plain meaning of ἀκρίδες is the insects.

 

AS PESTS

Grasshoppers eat large quantities of foliage both as adults and during their development, and can be serious pests of arid land and prairies. Pasture, grain, forage, vegetable and other crops can be affected. Grasshoppers often bask in the sun, and thrive in warm sunny conditions, so drought stimulates an increase in grasshopper populations. A single season of drought is not normally sufficient to stimulate a massive population increase, but several successive dry seasons can do so, especially if the intervening winters are mild so that large numbers of nymphs survive. Although sunny weather stimulates growth, there needs to be an adequate food supply for the increasing grasshopper population. This means that although precipitation is needed to stimulate plant growth, prolonged periods of cloudy weather will slow nymphal development.

 

Grasshoppers can best be prevented from becoming pests by manipulating their environment. Shade provided by trees will discourage them and they may be prevented from moving onto developing crops by removing coarse vegetation from fallow land and field margins and discouraging luxurious growth beside ditches and on roadside verges. With increasing numbers of grasshoppers, predator numbers may increase, but this seldom happens sufficiently rapidly to have much effect on populations. Biological control is being investigated, and spores of the protozoan parasite Nosema locustae can be used mixed with bait to control grasshoppers, being more effective with immature insects. On a small scale, neem products can be effective as a feeding deterrent and as a disruptor of nymphal development. Insecticides can be used, but adult grasshoppers are difficult to kill, and as they move into fields from surrounding rank growth, crops may soon become reinfested.

 

Some grasshopper species, like the Chinese rice grasshopper, are a pest in rice paddies. Ploughing exposes the eggs on the surface of the field, to be destroyed by sunshine or eaten by natural enemies. Some eggs may be buried too deeply in the soil for hatching to take place.

 

Locust plagues can have devastating effects on human populations, causing famines and population upheavals. They are mentioned in both the Koran and the Bible and have also been held responsible for cholera epidemics, resulting from the corpses of locusts drowned in the Mediterranean Sea and decomposing on beaches. The FAO and other organisations monitor locust activity around the world. Timely application of pesticides can prevent nomadic bands of hoppers from forming before dense swarms of adults can build up. Besides conventional control using contact insecticides, biological pest control using the entomopathogenic fungus Metarhizium acridum, which specifically infects grasshoppers, has been used with some success.

 

IN LITERATURE

The Egyptian word for locust or grasshopper was written snḥm in the consonantal hieroglyphic writing system. The pharaoh Ramesses II compared the armies of the Hittites to locusts: "They covered the mountains and valleys and were like locusts in their multitude."

 

One of Aesop's Fables, later retold by La Fontaine, is the tale of The Ant and the Grasshopper. The ant works hard all summer, while the grasshopper plays. In winter, the ant is ready but the grasshopper starves. Somerset Maugham's short story "The Ant and the Grasshopper" explores the fable's symbolism via complex framing. Other human weaknesses besides improvidence have become identified with the grasshopper's behaviour. So an unfaithful woman (hopping from man to man) is "a grasshopper" in "Poprygunya", an 1892 short story by Anton Chekhov, and in Jerry Paris's 1969 film The Grasshopper.

In mechanical engineering

 

The name "Grasshopper" was given to the Aeronca L-3 and Piper L-4 light aircraft, both used for reconnaissance and other support duties in World War II. The name is said to have originated when Major General Innis P. Swift saw a Piper making a rough landing and remarked that it looked like a "damned grasshopper" for its bouncing progress.

 

Grasshopper beam engines were beam engines pivoted at one end, the long horizontal arm resembling the hind leg of a grasshopper. The type was patented by William Freemantle in 1803.

 

WIKIPEDIA

Ein Gedi nature reserve includes two spring-fed streams with flowing water year-round: Nahal David and Nahal Arugot.

 

The reserve is a sanctuary for many types of plant, bird and animal species.

 

The many species of resident birds are supplemented by over 200 additional species during the migration periods in the spring and fall. Mammal species include the ibex and the hyrax.

 

To see all images taken at that place, click on : Fullscreen photo slideshow or photo set

Location: Ein Gedi Nature Reserve - שמורת טבע עין גדי , Israel

 

For fave F | To view in LARGE press L | To comment C

Sherborne is a market town and civil parish in north west Dorset, in South West England. It is sited on the River Yeo, on the edge of the Blackmore Vale, 6 miles ( 10 kilometres ) east of Yeovil. The A30 road, which connects London to Penzance, runs through the town. In the 2011 census the population of Sherborne parish and the two electoral wards was 9,523. 28.7% of the population is aged 65 or older. Sherborne's historic buildings include Sherborne Abbey, its manor house, independent schools, and two castles: the ruins of a 12th-century fortified palace and the 16th-century mansion known as Sherborne Castle built by Sir Walter Raleigh. Much of the old town, including the abbey and many medieval and Georgian buildings, is built from distinctive ochre-coloured ham stone. The town is served by Sherborne railway station.

The town was named scir burne by the Saxon inhabitants, a name meaning clear stream and is called as such in the Domesday book. Sherborne was made the capital of Wessex, one of the seven Saxon kingdoms of England, and King Alfred's elder brothers King Ethelbert and King Ethelbald are buried in the abbey. In 705 the diocese was split between Sherborne and Winchester, and King Ine founded an abbey for St Aldhelm, the first bishop of Sherborne. In 933, King Æthelstan granted land at Sherborne to the nuns of Shaftesbury Abbey under the condition that they would recite the Psalter once a year on All Saints' day and say prayers for the king. The bishop's seat was moved to Old Sarum in 1075 and the church at Sherborne became a Benedictine monastery. In the 15th century the church was burnt down during tensions between the town and the monastery, and rebuilt between 1425 and 1504 incorporating some of the Norman structure remains. In 1539 the monastery was bought by Sir John Horsey and became a conventional church. Sherborne was the centre of a hundred of the same name for many centuries. In the 12th century Roger de Caen, Bishop of Salisbury and Chancellor of England, built a fortified palace in Sherborne. The palace was destroyed in 1645 by General Fairfax, and its ruins are owned by English Heritage.

In 1594 Sir Walter Raleigh built an Elizabethan mansion in the grounds of the old palace, today known as Sherborne Castle.

Sherborne Castle And Classic and Super Car day.

This event I went to, on the 15th July 2017. A first time visit for me. I must say, I was disappointed with the event. It was for me disjointed. I found the Italian Day at Lymington before this event to be a, much more friendly day. And had over 50 Ferrari’s there, a lot more than they had at this special day. I understand the event was for charity and I do acknowledge that much effort and time went into the event to turn out as it did. However to have only 5 five Lamborghini’s there was a little disappointing. It was after all a Super Car day. I think the martial’s too could be better they didn’t seem to control the crowds much letting them walk into roped off areas, for protection from the cars and stopped many people getting photographs of the event by stepping in front of other spectators and the cars speeding past. Don’t get me wrong it was not a bad day just a day I thought could have been better.

Built by Sir Walter Raleigh in 1594 and stately home of the Digby family since 1617, Sherborne Castle is a Historic House which reflects a glorious variety of decorative styles from over 400 years of English history. Experience the Castle's rich interiors with splendid collections of art, furniture and porcelain. In the cellars see Raleigh's original kitchen and family artefacts and archaeological treasures in the museum. Outside, the eighteenth century gardens designed by Capability Brown with magnificent specimen trees, floral borders and sweeping lawns forming one of his finest Lake landscapes you will see. Delightful walks guide you round the 50-acre Lake, past Sir Walter Raleigh’s Seat to the river Cascade, close by to the adjacent medieval Castle ruins and on to Pope’s seat where you can watch the abundant wildlife on the lake.

In the Civil War Sherborne was strongly Royalist, and the old castle was left in ruins by General Fairfax of the Parliamentary forces in 1645. The name Sherborne Castle was then applied to the new house, though today the term Sherborne New Castle is generally used to refer to it, in the same manner as Sherborne Old Castle is used for the ruins.

Through the early and mid-18th century William, 5th Lord Digby, who laid out the grounds praised by Alexander Pope, and his heirs Edward, 6th Lord Digby, who inherited in 1752, and Henry, 7th Lord, created Earl Digby, laid out the present castle gardens, including the 1753 lake designed by Capability Brown, which separates the old and new castles. The ruins of the old castle are part of the gardens, being conspicuous amongst the trees across the lake. King George III visited the house and gardens in 1789, shortly before awarding Henry Digby with a peerage. When Edward, 2nd and last Earl Digby died in 1856 the house was passed to the Wingfield Digby family, who still own the house. The house was modernised by the architect Philip Charles Hardwick.

In the First World War the house was used by the Red Cross as a hospital and in the Second World War as the headquarters for the commandos involved in the D-Day landings. The gardens are Grade I listed in the National Register of Historic Parks and Gardens. They are open to the public much of the year, and the house is open to the public most Saturdays. The estate often hosts special events, such as concerts and firework displays. The old castle was leased by English Heritage and is now separate from the rest of the estate.

This is a photograph from the finish of the 6th annual Kinnegad 5KM Road Race and Fun Run 2015 which was held in the town of Kinnegad, Co. Westmeath, Ireland on Wednesday 8th July 2015 at 20:00. This race has firmly estbalished itself on the local race calender and yet again the race got wonderful support from local clubs and runners. The race is flat and fast and takes runners on traffic free route which includes 3KM on the local road 'Boreen Bradach'. The finish is on the famous main street of Kinnegad in front of Harry's Hotel. Over 200 people took part and the results by Premier Timing Systems are available here [www.premiertimingsystems.ie/]. Our full set of photographs from tonight's race is available here www.flickr.com/photos/peterm7/sets/72157653300652864

The race is organised by Coralstown Kinnegad GAA Club with proceeds from the race going towards the development of the club.

  

USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS

Can I use these photographs directly from Flickr on my social media account(s)?

 

Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.

 

BUT..... Wait there a minute....

We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.

 

This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

I want to download these pictures to my computer or device?

 

You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.

 

I want get full resolution, print-quality, copies of these photographs?

 

If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.

 

I would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

Let's get a bit technical: We use Creative Commons Licensing for these photographs

We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?

The explaination is very simple.

Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.

ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.

 

Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets

 

Which festival includes a hot tub, a sauna and loads of underground live bands and has free entrance? Besturingsfest! The first edition in 2013 turned out pretty cold and wet, but this years episode was sunny and packed.

www.facebook.com/events/269881779845794/?fref=ts

 

Pickering Castle is situated on the southern edge of the North York Moors on a limestone bluff which formerly overlooked the meeting point of two of the main highways through the north of England: the east-west route along the Vale of Pickering and the north-south route through Newton Dale to Malton. The monument consists of a single area which includes the site of the 11th century motte and bailey castle and the 13th century shell keep castle. The former was built by William the Conqueror either during or shortly after the 'harrying of the north' in 1069-70. It consisted of an earth motte crowned by a timber palisade, flanked on the north-west side by a crescent-shaped inner bailey and, on the south-east side, by a contemporary or slightly later outer bailey. The inner bailey measured c.120m by c.35m and was bounded to the north by a steep natural slope surmounted by a palisade and to the south by deep 15m wide ditches linked to the ditch encircling the motte. The outer bailey, which measured c.185m by c.25m, was protected on the north side by these same ditches and, on the south side, by a 5-8m high palisaded bank with an outer ditch. To the immediate east of the outer bailey ditch a further earthwork bank may have provided additional defence on this side; alternatively it may be part of a medieval defence system associated with the adjacent settlement. The motte is c.20m high and has a base diameter of c.60m. It is not yet clear whether this is the original 11th century motte or a later medieval reconstruction. In the latter case, the earlier motte will have been preserved inside the later while, in addition, the buried remains of a wide range of domestic and service buildings will survive within the open areas of the baileys.

 

The reconstruction of the castle in stone largely took place between 1180 and 1236. There were three main phases to the work at this time, the earliest involving the late 12th century replacement of the palisade round the inner bailey with a curtain wall and also the probable construction of the first shell keep on the motte. In its present form the shell keep dates to the early 13th century but the foundations of the earlier wall will survive underneath. The remains of the early curtain wall still stand round the inner bailey, surviving best where the curtain was incorporated into later buildings. The earliest buildings so far identified are the early or mid- 12th century Old Hall, a free-standing residence whose surviving foundations show it to have been half-timbered, and the Coleman Tower, constructed at the same time as the inner curtain and an integral part of it. The Coleman Tower guarded the entry across the inner bailey ditch and was also a prison; hence its earlier name, the King's Prison. It was square in plan and had its entrance on the first floor, the level underneath being where the prisoners were kept. On the east side are the remains of a small building and also a stairway leading onto an adjacent wall. This wall, built across the motte ditch in the late 12th century, replaced an earlier palisade and provided access to the summit of the motte. A similar and contemporary length survives on the opposite side of the motte, crossing the ditch and joining the curtain alongside the later Rosamund's Tower. The keep consisted of a rubble wall enclosing a roughly circular area 20m wide. A wall walk would have lined the inside of the wall above a series of garrison buildings. The foundations of some of these buildings survive but it is not certain whether they date to the 13th or the 14th century. In some cases they will have replaced earlier timber structures whose buried remains will also survive. Also of uncertain date are the foundations of a number of buildings in the inner bailey, including a service range to the south-west and a group of buildings referred to as the Constable's Place in the accounts of the years 1441-43. The latter were half-timbered and some sections predate the inner curtain though others were clearly added later. A survey of 1537 lists a number of distinct structures, including the Constable's hall, a kitchen, buttery and pantry, and quarters for staff and servants. At the southern end of the group were a number of storage buildings, one of which is believed to have been the wool house. Two additional service buildings lay adjacent to the Old Hall and are thought, originally, to have been contemporary with it. To the south of these is the chantry-chapel which dates from c.1227 and is still complete though in a much altered state.

 

To the west of this is the early 14th century New Hall, initially built as a residence for Countess Alice, wife of Earl Thomas of Lancaster. This was later used as a courthouse which gave rise to it being named King's Hall or Motte (moot) Hall in later surveys. It was a penticed or lean-to building of two storeys which utilised the inner curtain for its outer wall. The inner walls were timber-framed and, as much of the surviving stonework is late 12th or early 13th century, it clearly replaced an earlier building. The upper chamber or solar of the 14th century hall was an elaborate plastered room with a decorated fireplace. The last major programme of building dates to 1324-26 when Edward II ordered extensive works to be carried out which included replacing the whole of the timber palisade round the outer bailey with a stone wall. This outer curtain included three projecting towers, a gatehouse with a drawbridge over the outer ditch and a postern gate which led from the north-east arm of the inner bailey ditch, underneath Rosamund's Tower and out onto the rampart. A second gate and drawbridge, built at this time alongside the Coleman Tower, had fallen out of use by the 16th century and can now no longer be seen. The three projecting towers, named from north-east to south-west, Rosamund's Tower, Diate Hill Tower and Mill Tower, are all square in plan and all would have led out onto the wall-walk along the inside of the curtain though, in the case of the Mill Tower, the curtain to either side has not survived sufficiently well to demonstrate this. The ground-floor entrance to the Mill Tower consisted of two doors linked by a short passage, in which the first door opened inwards and the second outwards indicating that the tower was built as a prison, a role it took over from the Coleman Tower. North of the Mill Tower, the outer curtain crossed the inner bailey ditch which can also be seen outside the castle walls on the west and north sides. This section of the ditch was part of the original 11th century defences and was quarried out of the rock on which the castle was built.

 

A levelled area alongside the inner edge indicates that quarrying of the rock-face continued after the ditch was cut. The quarried stone would have gone towards the construction of at least some of the castle buildings. Aside from its strategic and administrative roles, Pickering Castle had two other functions: to guard and manage the large forest which lay adjacent and to provide a court and place of detention for those found guilty of offences against it, such as poaching, unauthorised clearance and the theft of timber. The forest was an extremely important economic resource during the Middle Ages and its particular importance at Pickering can be seen in the great use made of wood in the castle buildings and also, most significantly, its continuous use in the defences down to the 14th century. Also important to the castle economy during the 14th century was the sale of wool, and it also had responsibility for managing the royal stud created by Edward II in c.1322. Possibly the stables known to have been located against the outer curtain at this time, between the gatehouse and Diate Hill tower, were connected with this. According to the Domesday Book, in 1086 the manor of Pickering was held by the king, that is, William the Conqueror. The castle established at this time as part of the subjugation of the rebellious North remained in royal hands until 1267 when it was conferred with the title Earl of Lancaster on Edmund Crouchback, younger son of Henry III. Edmund's son Thomas succeeded to both title and estates in 1296 but was executed for treason by Edward II in 1322, whereupon his estates reverted to the king. Following the unsuccessful Scottish campaign of the same year, and the ensuing retaliatory attacks on the north of England by Robert the Bruce, Edward ordered the building works noted above, clearly intending to keep Pickering a royal castle. However, in 1326 his son Edward III confirmed Henry, the younger brother of Thomas, Earl of Lancaster, in his brother's titles and estates, and, in 1351, the castle became part of the Duchy of Lancaster when that title was created. Upon the elevation of the House of Lancaster to the throne in 1399, and in 1413, the succession of Henry V, the Duchy reverted to the Crown and Pickering became a royal castle once again. It has been in State care since 1926. A number of features within the protected area are excluded from the scheduling. These include the ticket office/sales point and its paved base and steps, all English Heritage fixtures and fittings such as bins, bridges, safety grilles, signs, railings and interpretation boards, the surfaces of all modern steps and paths inside and outside the castle walls, lighting and the modern walls and fences round the outside edge of the protected area but the ground beneath all these features is included.

From a trip to the Speedway at the Arlington Stadium, where the Eastbourne Eagles were taking on the Plymouth Devils. Eastbourne won and I'm still picking gravel out of my hair! One of the juniors in action.

Kochi is a city in the Indian state of Kerala. Kochi is located in the district of Ernakulam. Old Kochi loosely refers to a group of islands including Willingdon Island, Fort Kochi and Mattancherry. Today Kochi includes Ernakulam, old parts of Kochi, Kumbalangi, and outlying islands.

 

For many centuries up to and during the British Raj, the city of Kochi was the seat of the eponymous princely state. Kochi traces its history back many centuries, when it was the centre of Indian spice trade for hundreds of years, and was known to the Yavanas (Greeks and Romans), Jews, Arabs and Chinese since ancient times. Kochi earned a significant position on the world trading map after the port at Kodungallur (Cranganore) was destroyed by massive flooding of the river Periyar in 1341.

 

The earliest documented references to Kochi occur in the books written by Chinese voyager Ma Huan, during his visit to Kochi in the 15th century as part of the treasure fleet of Admiral Zheng He. There are also references to Kochi in accounts written by Italian traveller Niccolò Da Conti, who visited Cochin in 1440 . Today, Kochi is the commercial hub of Kerala, and one of the fastest growing second-tier metros in India.

 

PREHISTORY

Not much is known about the prehistory of Kochi. There has been no clear evidence of Stone Age inhabitation. Quite ironically, Kochi forms the central part of the Megalithic belt of Kerala. The only trace of prehistoric life in the region is the menhir found in Tripunithura.

Princely rule

 

PRINCELY RULE

The history of Kochi prior to the Portuguese is not well documented. Though places north and south of Kochi are mentioned in quite detail in many accounts by ancient travellers, even a mention of Kochi is absent prior to the arrival of the Portuguese. Kochi's prominence as a trading port grew after the collapse of the port at Kodungallur in 1341 AD.

 

The Cochin State came into existence in 1102 AD after the breaking up of the Kulasekhara empire.

 

FOREIGN RULE

Kochi was under the rule of many foreign empires, during which the Raja of Kochi still remained the titular head.

 

PORTUGUESE PERIOD (1503-1663)

Kochi was the scene of the first European settlement in India. In the year 1500, Portuguese Admiral Pedro Álvares Cabral, landed at Cochin after being repelled from Calicut. The King of rival Kochi welcomed his guests and a treaty of friendship was signed. Promising his support in the conquest of Calicut, the admiral coaxed the king into allowing them to build a factory at Cochin. Assured by the support, the king called war with the Zamorins of Calicut. However, the admiral retreated in panic on seeing the powers of the Zamorin. The Zamorins, on the other hand, eager to win the favor of the Portuguese, left without a war. Another captain, João da Nova was sent in place of Cabral. However, he too faltered at the sight of the Zamorin. The consecutive retreats made the King of Portugal indignant. The king sent Vasco Da Gama, who bombed Calicut and destroyed the Arab trading posts. This invited the anger of the Zamorin, who declared a war against the Kochi Raja.

 

The war between Calicut and Cochin began on 1 March 1503. However, the oncoming monsoons and the arrival of a small Portuguese fleet under Francisco and Afonso de Albuquerque alarmed the Zamorin, and he called back his army. The Zamorin resorted to a retreat also because the revered festival of Onam was near, and the Zamorin intended to keep the auspicious day holy. This led to a triumph for the king of Kochi, who was later re-established in the possession of his kingdom. However, much of the kingdom was burnt and destroyed by the Zamorins.

 

After securing the king in his throne, the Portuguese got permission to build a fort – Fort Kochi (Fort Emmanuel) (after the reigning king of Portugal) - surrounding the Portuguese factory, in order to protect it from any further attacks. The entire work was commissioned by the Cochin Raja, who supplied workers and material. The Raja continued to rule with the help of the Portuguese. Meanwhile, the Portuguese secretly tried to enter into an alliance with the Zamorins. A few later attempts by the Zamorin at conquering the Kochi port was thwarted by the Cochin Raja with the help of the Portuguese. Slowly, the Portuguese armory at Kochi was increased, with the presumed notion of helping the raja protect Kochi. However, the measured led to decrease in the power of the Cochin Raja, and an increase in the Portuguese influence. From 1503 to 1663, Kochi was ruled by Portugal through the namesake Cochin Raja. Kochi remained the capital of Portuguese India till 1510. In 1530, Saint Francis Xavier arrived and founded a Christian mission. This Portuguese period was difficult for the Jews installed in the region, since the Inquisition was active in Portuguese India. Kochi hosted the grave of Vasco da Gama, the Portuguese viceroy, who was buried at St. Francis Church until his remains were returned to Portugal in 1539. Soon after the time of Albuquerque, the Portuguese rule in Kerala declined. The failure is attributed to several factors like intermarriages, forcible conversions, religious persecution etc.

 

DUTCH PERIOD (1663-1773)

The Portuguese rule was followed by that of the Dutch, who had by then conquered Quilon, after various encounters with the Portuguese and their allies. Discontented members of the Cochin Royal family called on the assistance of the Dutch for help in overthrowing the Cochin Raja. The Dutch successfully landed at Njarakal and headed on to capture the fort at Pallippuram, which they handed over to the Zamorin.

 

MYSORE INVASION

The 1773 conquest of the Mysore King Hyder Ali in the Malabar region descended to Kochi. The Kochi Raja had to pay a subsidy of one hundred thousand of Ikkeri Pagodas (equalling 400,000 modern rupees). Later on, in 1776, Haider captured Trichur, which was under the Kingdom of Kochi. Thus, the Raja was forced to become a tributary of Mysore and to pay a nuzzar of 100,000 of pagodas and 4 elephants and annual tribute of 30,000 pagodas. The hereditary Prime Ministership of Cochin came to an end during this period.

 

BRITISH PERIOD (1814–1947)

In 1814 according to the Anglo-Dutch Treaty, the islands of Kochi, including Fort Kochi and its territory were ceded to the United Kingdom in exchange for the island of Banca. Even prior to the signing of the treaty, there are evidence of English residents in Kochi. Towards the early 20th century, trade at the port had increased substantially, and the need to develop the port was greatly felt. Harbour Engineer Robert Bristow, was thus brought to Cochin in 1920 under the direction of Lord Willingdon, then the Governor of Madras. In a span of 21 years, he had transformed Cochin as the safest harbour in the peninsula, where ships berthed alongside the newly reclaimed inner harbour equipped with a long array of steam cranes. Meanwhile, in 1866, Fort Cochin was made a municipality, and its first Municipal Council election to a board of 18 members was conducted in 1883. The Maharajah of Cochin, in 1896 initiated local administration, by forming town councils in Mattancherry and Ernakulam. In 1925, Kochi legislative assembly was constituted due to public pressure on the state. The assembly consisted of 45 members, 10 of who were officially nominated. Thottakkattu Madhaviamma became the first woman to be a member of any legislature in India.

 

POST INDEPENDENCE ERA

In 1947, India gained independence from the British colonial rule. Cochin was the first princely state to join the Indian Union willingly. Post independence, E. Ikkanda Warrier became the first Prime Minister of Kochi. K. P. Madhavan Nair, P.T Jacob, C. Achutha Menon, Panampilly Govinda Menon were few of the other stalwarts who were in the forefront of the democratic movements. Then in 1949, Travancore-Cochin state came into being by the merger of Cochin and Travancore, with Parur T. K. Narayana Pillai as the first chief minister. Travancore-Cochin, was in turn merged with the Malabar district of the Madras State. Finally, the Government of India's 1 November 1956 States Reorganisation Act inaugurated a new state – Kerala – incorporating Travancore-Cochin, Malabar District, and the taluk of Kasargod, South Kanara. On 9 July 1960, the Mattancherry council passed a resolution that was forwarded to the government, requesting the formation of a Municipal Corporation by combining the existing municipalities of Fort Kochi, Mattancherry and Ernakulam. The proposal was condemned by the Fort Kochi municipality. However, the Ernakulam municipality welcomed the proposal, suggesting the inclusion of more suburban areas in the amalgamated Corporation. Major Balagangadhara Menon, the then Director of Local Bodies was appointed by the government to study the feasibility of the suggested merger. And based on the report submitted by him, the Kerala Legislative Assembly approved the formation of the Corporation. Thus, on 1 November 1967, exactly 11 years since the conception of the state of Kerala, the corporation of Cochin came into existence, by the merger of the municipalities of Ernakulam, Mattancherry and Fort Kochi, along with that of the Willingdon Island and four panchayats viz. Palluruthy, Vennala, Vyttila and Edappally and the small islands of Gundu and Ramanthuruth.

 

WIKIPEDIA

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About the late Community member policy,,.

 

Jan 7, 2022, Andrew H. McCain Arena, Acadia University Wolfville N.S. - Acadia has answered the call, and changed the discriminating Covi era membership Gym access policy to instead include the Community members with the same equal rights as the student males. females, trans and bi members have .

 

.. much appreciated.

  

.

.

Feb 24, 2022 - Wolfville, N.S. Acadia University. The Acadia University Professors strike enters its 4th week ?

www.flickr.com/photos/74039487@N02/51901774104

 

Sept 30th 2022 - Acadia Axeman hockey at Andrew H. McCain Arena goes paperless ? The Official program is no longer handed out to the customer ? www.flickr.com/photos/74039487@N02/52395343477

 

January 22, 2024 - Canada sets two-year cap on foreign students. The cap will result in a decrease of 35% in approved study permits.

www.bbc.com/news/world-us-canada-68059996

 

Dec 14,2021 - Don't all members matter at Acadia Athletics ? Discrimination shown against community members during Covi. A posted official notice reads : "The Athletics complex will be closed to community drop-ins, community memberships, and external rentals until further notice , However,, Acadia staff, faculty and students, with proof of double vaccination, will continue to access the fitness center, the pool and the arena for skating. "

 

International student fallout hits the bottom line.. Atlantic universities depend on international students for about 30 per cent of their enrollment.

universityaffairs.ca/news/international-student-fallout-h...

 

Feb. 28, 2026. Dalhousie inks new nursing degree agreement with university in India to create dual-degree program in nursing.

www.cbc.ca/news/canada/nova-scotia/dalhousie-dual-nursing...

 

May 11th 2023 - A new policy has been announced at Acadia where almost half the available seats for a new Course are to be set aside and reserved only for members of certain racial or ethnic groups as specified by the University ? The PC Government announced that a new nursing program is to be offered at Acadia University where approximately 50 percent of the seats are reserved only for African, Mi'kmaq and Indigenous students. The total number of annual seats is set to increase to 63 ? Bearing in mind a current health care system worker crisis and urgent need for nursing grads, is it really wise or responsible to install race or ethnic restrictions that can eliminate many of those wanting to be a nurse ? www2.acadiau.ca/about-acadia/newsroom/news-reader-page/ac...

 

Dec 27, 2021 - Playing the race card ? The Liberal Provincial Government of Nova Scotia could be on a slippery slope when using race to determine and to cull applicants for vital health services due to limited supplies during a national public health emergency ?

www.flickr.com/photos/74039487@N02/51782360402/in/album-7...

 

The Supreme Court says colleges and universities can no longer take race into consideration as a specific basis for granting admission,

www.cnn.com/2023/06/29/politics/affirmative-action-suprem...

 

Free University for some ? B.C. university waives tuition for local First Nation students,

bc.ctvnews.ca/that-s-reconciliation-b-c-university-waives...

 

Aug 2023 - A new physician assistant program at Dalhousie U open to 24 students per year with preference given to applicants from Nova Scotia, atlantic.ctvnews.ca/n-s-invests-5-6-million-for-first-phy...

 

Oct 10, 2025 - The race card has been played in setting membership pricing rates ? A local Halifax gym R-Studio executes exclusive lower race-based membership charge ?

www.youtube.com/watch?v=wsHpxm3yb7c&t=20s

 

June 11, 2025 - Maritime students struggle to find summer jobs,

www.ctvnews.ca/atlantic/article/mission-impossible-mariti...

 

Tim Horton's appears to use racial profiling in its hiring policies ?

www.flickr.com/photos/74039487@N02/54605482350/in/album-7...

 

Canada's Gen Z can't find jobs,, www.cbc.ca/news/business/youth-unemployment-rate-1.7549979

 

The concerned Kentvillian must ask, " why is it that every time that you gas up at Milne Court Petro-Can, New Minas Ultramar, KVille Ultramar, and now the Big Stop, or go to the KFC for chicken, or Mary Browns, or the Burger King, or Subway, or all of the 3 Timmies for coffee, or Walmart, oe Needs, or receive a parcel from amazon, or attend the cash register post to pay a bill at many other downtown stores, it feels like you're suddenly in a foreign country ? " What has happened to all of the friendly locals that used to man these positions and was one of the main reasons we frequented these business establishments ? www.flickr.com/photos/74039487@N02/54418705157/

 

Chamber of Commerce Kentville, NS

448 Main St, Kentville NS B4N

annapolisvalleychamber.ca/-

Kody Bloise . Liberal Party

 

Can there be an identity crisis looming in the town of Kentville ?

www.flickr.com/photos/74039487@N02/52094330358/in/album-7...

 

Canada's post-secondary industry predicts a storm ahead, as budget cuts shrink courses, staff,

www.cbc.ca/news/canada/post-secondary-cuts-1.7387175

 

U of T Toronto, Jun 27, 2023 - " She Sung it her Way "

Jully Black sings her own personalized, politicized, 'our home on native land' version of the Canadian National anthem in a performance at Toronto university graduation. Black was asked to perform her new way of singing Canada's national anthem to reflect the core values of their law program ? www.cbc.ca/news/canada/toronto/jully-black-tmu-law-school...

 

March 18, 2025 - Professors, students say Nova Scotia university bill threatens academic freedoms,

www.ctvnews.ca/atlantic/nova-scotia/article/professors-st...

 

March 4th, 2025 - Trump issues ban on 'illegal' college protests as he threatens students with arrest and deportation

www.lbc.co.uk/usa/politics/trump-issues-ban-on-illegal-co...

 

April 9, 2025 - Trump administration freezes $1 billion in funding for Cornell University, $790 million for Northwestern University ,,

www.cnn.com/2025/04/09/us/cornell-northwestern-federal-fu...

 

Jan 20,2026 - Trump hates wind turbines ? ‘so pathetic and so bad’ .. And so does Hall's Harbour ,

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

 

5th Mar 5th, 2025 - U.S. funding freeze affecting both American and international exchange students and major US scholarship funders

monitor.icef.com/2025/03/us-funding-freeze-affecting-both...

 

Trump protecting historic statues - enacts 10 years in jail penalty for harming or defacing historical statues,,

www.cbsnews.com/video/trump-signs-executive-order-enactin...

 

February 10, 2025 - Acadia University in Wolfville announces permanent pool closure, discontinues varsity swim team - will close its swimming pool on June 15, 2025,

Students chose Acadia because of the swim team and many parents got calls “from their kids – in tears – devastated.”

Acadia Aquatics,

recreation.acadiau.ca/aquatics.html

 

How not to park at Hennigers farm Market Greenwich,

www.flickr.com/photos/74039487@N02/54788130883

 

April 13, 2025 - Eight programs suspended at P.E.I. college over drop in international students,

www.ctvnews.ca/atlantic/prince-edward-island/article/pei-...

 

Sept 13th, 2025 - Acadia Axemen and Dal Tigers hockey teams ignore the Dal strikers picket line to play an Exhibition game at Dalhousie University ?

www.flickr.com/photos/74039487@N02/54784598896/in/photost...

 

Town of Wolfville breaking the law, obstructing traffic, while creating a safety hazard ? And making trip to and from hockey games a real challenge ?

www.flickr.com/photos/74039487@N02/54710009955/in/photost...

 

Sep 29, 2025 - Wolfville now studying ways to solve traffic congestion along Main Street ?

www.cbc.ca/news/canada/nova-scotia/wolfville-nova-scotia-...

 

CBC launches Olympic games gambling ? In a groundbreaking move and for the first time ever, CBC has introduced and will include gambling in its coverage of the 2024 Olympic games ?

2024 Paris Olympics - It appears that CBC has partnered with one particular online Casino company and BetRivers is running sports betting ads during the televising of Olympic sporting events ? Is the inclusion of a casino and a Sports betting parlor that runs betting ads during Olympic events appropriate to the principles and high moral standard exemplified by the Olympic Games ?

 

Are University student loans being gambled away ?

www.flickr.com/photos/74039487@N02/54775209530/in/photost...

 

Feb 4th 2025, Bell Let's Talk ? Abandoning your Unionized telephone workers, refusing to talk to them and leaving them out on the Street for 5 Months does not contribute to good mental health ? U Ottawa Scotty suggests that the internet, mobile phones and Social media are also taking a heavy toll on the mental health and overall mental well being of today's society ? And so maybe there's some hypocrisy shown by the giant media mogul Bell Canada who could be the biggest contributor and profit taker from this national crisis ? www.youtube.com/shorts/31f3sZndK6w

www.flickr.com/photos/74039487@N02/51844732131/in/album-7...

 

This year Canadian Taxpayers will pay $1.5 billion dollars to subsidize the CBC ?

site-cbc.radio-canada.ca/documents/impact-and-accountabil...

 

June 28,2021, O Canada at Stanley Cup Finals ? CBC plays upsetting version of the Canadian National Anthem on the World stage ? www.flickr.com/photos/74039487@N02/51829474529/in/album-7...

 

January 11-22, 2023 - CBC doesn't seem to want to push or promote the men's hockey leagues like AHL, ECHL, or the University level ASU and U Sports hockey ? Canada has won both Golds at the recent 2023 international University Hockey FISU tournament. But Gold medal final games, in fact the whole tournament, were not telecast on CBC ? www.flickr.com/photos/74039487@N02/52640201721/in/datepos...

 

July 5th, 2024 Jacob Shaffelburg (Pt Williams Nova Scotia) Men's soccer - Unfortunately, CBC doesn't seem to support or sponsor men's soccer and will not be broadcasting the Men's Copa soccer tournament ? However, you can still enjoy soccer on CBC as they will be giving support and full coverage to the Women's National team and to the new start-up Women's pro soccer league ? www.cbc.ca/sports/soccer/cbc-radio-canada-broadcast-agree... ? -

www.flickr.com/photos/74039487@N02/53839077022/in/photost...;

 

June 29th, 2024 - Bailey Feltmate (Acadia U, Wolfville N.S.) - CBC doesn't appear to support men's football anymore, and so most Canadians won't be able to watch graduating male university athletes like Bailey perform in the pros ? However, fans will be able to watch graduating university female athletes perform as CBC is providing cross Canada media support and live coverage of the new start-up Women's pro soccer league, the new Women's pro hockey league, and the upcoming Women's pro basketball league ? www.flickr.com/photos/74039487@N02/53855066488/in/datepos...

 

Jun 11, 2024 - Acadia's Mya Harnish joins new Women's Pro soccer team, the Halifax Tides. CBC will provide full media support and full coverage for the brand new start-up Women's Pro soccer league. CBC will broadcast eight regular-season matches. A "Game of the Week" will co-stream simultaneously on CBC Gem and NSL.ca,

www.cbc.ca/sports/soccer/cbc-radio-canada-broadcast-agree...

Thanks to CBC, fans will now be able to follow female Acadia University athletes like Mya Harnish, who has now turned Pro . www.flickr.com/photos/74039487@N02/54482565652/in/photost...

  

Lost in Space________Episode # 1_______Death to Deniers !

 

Danger - Will Robinson, Danger ! Sensors detecting thought-police !

 

These fine ladies want prison sentences handed down to individuals who dare to be themselves and to think differently from them calling anyone with a different opinion from theirs to be a denier or a hater ?

No one can deny the existence of residential schools. And so why are an infinitesimal tiny minority like Leah Gazan (NDP), Lindsay Mathyssen (NDP), Nahanni Fontaine (NDP) and Kimberley Murray (Liberal Government investigator) so dissatisfied and why are they trying to force their own radical ego-driven personal viewpoint based on unproven allegations on everyone else ? Why do they want you to think the same way that they think, believe in the same way that they believe, and be forced by law into accepting their individual self-centred and self-serving narrative, (that they get paid to expound) as being Gods' truth, and if you dare resist them you are then to be called a hater and a denier and a criminal that could be sent to jail for up to life in prison under the law enshrined in their new Bill C-63 or C-9 ?

www.youtube.com/watch?v=ZZU7NEzs3Gk

 

Was it a hoax ? Residential schools. After three years of searching for bodies, at the cost to taxpayers of $216.5 million, not a single set of human remains have been found.

thecatholicherald.com/article/failure-to-find-bodies-ends...

 

What Is Truth ?

"If you are strictly one-sided with any opinion, you’re incredibly ignorant".

UBC Jan 22, 2026 - Many students that grew up attending the Canadian public school system during the Trudeau Liberal era ( 2015 thru 2025 ) are now reaching post secondary age and are arriving at University in a heavily indoctrinated state with coercive and one-sided my-opinion-only attitudes ? Violent gangs of masked and gagged orange shirted student protestors, tribalism, far left activism and propaganda posters hanging in an Authoritarian environment where free will, open debate or speaking the truth is has become a crime are now being seen in our Canadian institutes of higher learning ? This scenario may sound Orwellian, but it's actually the billion dollar public funded University of B.C. campus in Vancouver ?

Frances Widdowson, "Without truth and without freedom, our Universities will die." Frances visits UBC. www.youtube.com/watch?v=ihsLPodE9R0

 

U of Vic claims 250 vs Frances and Dallas who say Zero ?

What Is Truth ?

Dec 3rd 2025, Frances and Dallas visit the University of Victoria B.C. and discover that U of Vic is conducting mass indoctrination of impressionable young minds ? Open free thinking and free speech are discouraged here ? Asking questions that might ruffle some feathers or challenge the status quo no longer wanted on this campus - By challenging the indoctrinated dogma taught at this publicly owned B.C. University can bring on abuse and the Police called in to cart you off to jail ? www.youtube.com/watch?v=u53G5WBpVmc

www.youtube.com/watch?v=TSRn8BzpvLc

 

Feb 24th, 2026 - "You're not welcome here !" Welcome to the University of Lethbridge where they ignore manners, disregard etiquette and the students use loud ancient tribal war cries and the continuous monotone of Indian tom-tom drumming to drown out the opposition during debate ? Once you take UofL's Indoctrination 101 course, 2 plus 2 may no longer equal 4 ? www.youtube.com/watch?v=-2Moi7VM7xI

 

Mar 23,2026 - " my spider sense is tingling "

Is Mt. Royal College in Calgary making the kids Crazy ?

www.youtube.com/watch?v=bPQNM063-lY

 

UBC Jan 22,2026 - Counter viewpoint reporters attacked and must run for their lives ?

 

UBC zombie apocalypse, Jan 22,2026

www.youtube.com/watch?v=MfIpTnyH_Zg

 

"What are they doing to our kids" ?

Many Parents contribute for years into Registered Education Savings Plans that are turned over to the Universities on behalf of their Children,

www.canada.ca/en/services/benefits/education/education-sa...

  

March 12, 2026 - They're Selling out Vancouver ? NDP Provincial Government insults all Canadian veterans who fought to secure this Nation ? Spencer Herbert and his NDP party appears to have self-appointed themselves to give away Canada without permission ? www.youtube.com/watch?v=rVTzJWE86go

 

March 12, 2026 - What Spencer Herbert is doing to his Province and his Country is illegal in other Canadian Provinces ? www.fasken.com/en/knowledge/2026/01/new-brunswick-court-o...

 

March 12, 2026 - Secret liberal backroom land transfer deals snuck in while the Eby provincial NDP government pretends to look the other way ? Indians may now own rights to Vancouver ?

www.youtube.com/watch?v=kT2DqPzulos

www.cbc.ca/news/canada/british-columbia/musqueam-rights-r...

 

March 09, 2026, Canada’s Bill C-3 ("An Act to amend the Citizenship Act") - New Liberal legislation allowing Canadian citizenship to be passed down over multiple generations from as far back as caveman days, means many millions all over the world are now eligible to be Canadian. www.cbc.ca/player/play/video/9.7120945

March 14, 2026 - Italy Restricts citizenship for those born abroad. Italy has enacted ruling that tells millions with Italian roots that they have lost the right to citizenship -

www.ctvnews.ca/world/article/italy-ruling-tells-millions-...

 

March 12, 2026 - Acadia University reducing staff levels amid ‘financial pressures’ ? 31 positions were eliminated.

www.ctvnews.ca/atlantic/nova-scotia/article/acadia-univer...

 

Mar 4th, 2026 - Canada grants $100 million in scholarships for India students ? This comes on the heels of PM Carney's trip to India.

www.youtube.com/post/Ugkx1VHElLBjsSwpz5-CK3P4SsNdrZmGdelS

 

feb 25, 2026 - Drastic University cuts are implemented in latest Provincial budget. Tim Houston's PC government is reducing funding for all Universities in Nova Scotia incl the PhD programs in education at Acadia,

www.halifaxexaminer.ca/wp-content/uploads/2026/02/Grant-R...

 

February 26, 2026 - Vulnerable hard hit Nova Scotia university students who struggle daily with the high cost of living in Nova Scotia prepare for a week-long strike to protest the provincial education cut, the cuts to advanced education grants, and they are demanding tuition reductions and divestment from fossil fuel dollars,

globalnews.ca/video/11708934/n-s-university-students-prep...

 

March 15, 2026 - Dalhousie University students vote to join the Nova Scotia student strike, www.ctvnews.ca/atlantic/nova-scotia/article/dalhousie-uni...

 

March 13, 2026 - Nova Scotia First Nation asserts Indian control over cannabis-related activities on their traditional lands, tells government and RCMP to stay out of cannabis and tobacco sales ? www.ctvnews.ca/atlantic/nova-scotia/article/ns-first-nati...

 

Closed museums, torn down statues, are all erasing a peoples' proud history ? March 04, 2026 - Halifax Nova Scotia - P. C. Provincial Government minimizes the importance of preserving the Provinces history and dismisses those who strive to preserve, protect, honor and record it ? Artists, cultural and heritage workers, arts organizers, and their allies rally in Halifax over the latest Tim Houston PC worst in history 130 M cuts to the essential funding needed for arts, culture, tourism, and heritage sector programs ?

www.youtube.com/watch?v=XQjKntnV55c

www.flickr.com/photos/74039487@N02/55129846907/in/dateposted

 

Mar 10, 2026 - Following a loud public outcry, the Premier agrees to restore some of the funding cuts made. The disabled, some seniors, some first nation Indigenous, and ( although we just finished celebrating Black History for a Month ) the African Nova Scotians will be granted reprieves and their funding will be RESTORED, however, the arts, culture and heritage communities will NOT be getting their CUTS IN FUNDING back ?

www.cbc.ca/news/canada/nova-scotia/tim-houston-budget-cut...

   

Action from the Forest Rally Stage at the Goodwood Festival of Speed.

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This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.

 

The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.

 

The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.

 

Electronic timing was provided by RedTagTiming: www.redtagtiming.com/

Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/

 

This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.

 

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Overall Race Summary

Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.

Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.

Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.

Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails

Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.

 

Some Useful Links

Official Race Event Website: www.forestmarathon.com/

The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371

A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781

Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/

Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/

Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...

A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...

Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O

Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park

Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115

Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...

More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...

 

How can I get a full resolution copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available offline, free, at no cost, at full image resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

  

Neanderthals are our closest extinct human relative. Some defining features of their skulls include the large middle part of the face, angled cheek bones, and a huge nose for humidifying and warming cold, dry air. Their bodies were shorter and stockier than ours, another adaptation to living in cold environments. But their brains were just as large as ours and often larger - proportional to their brawnier bodies.

 

Neanderthals made and used a diverse set of sophisticated tools, controlled fire, lived in shelters, made and wore clothing, were skilled hunters of large animals and also ate plant foods, and occasionally made symbolic or ornamental objects. There is evidence that Neanderthals deliberately buried their dead and occasionally even marked their graves with offerings, such as flowers. No other primates, and no earlier human species, had ever practiced this sophisticated and symbolic behavior.

 

SOURCE: Smithsonian National Museum of Natural History, Human Origins Program

"The complex includes a nunnery, temple halls, Chinese gardens, visitor's hostels and a vegetarian restaurant. The temple hall have statues of the Sakyamuni Buddha, the goddess of mercy Guanyin and other bodhisattvas. These statues are made from gold, clay, wood and stone.

The Chi Lin Nunnery was founded in 1934 but was rebuilt in 1990 following the style of Tang Dynasty traditional Chinese architecture. The present-day buildings are wood frame buildings built without the use of any iron nails. "

  

en.wikipedia.org/wiki/Chi_Lin_Nunnery