methodical photos on Flickr

12-02 Bsktbll - WCS Crusaders vs Charleston Townies - 65 by Gus Estrella

Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

Shot at ISO 1600, Aperture of 3.5, Shutter speed of 1/320 and Focal Length of 70.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 16:39 EST PM

Vintage_UPCO_4Inch_Equatorial_Newtonian_Project_Composite_Feb2020_HomCavObservatory_ReSizedDown2HD by homcavobservatory

As some may be aware, I have been re-organizing the observatory and the warm room building we built at our home here in upstate, NY, which is currently in the configuration shown here: - www.flickr.com/photos/homcavobservatory/49507532468/

As this activity continues, I have also been attempting to re-cycle & re-purpose some of the optics I have acquired over the decades; with the latest completed project being the use of a set of old 1980's Meade DS-10 optics in a newly created OTA riding on a previously built dobsonian mount (an image to which can be found here, shown alongside with my 1962 refractor - www.flickr.com/photos/homcavobservatory/49465827562/).

In addition to other optics, I also have a small 4.25-inch reflector that had been given to me back in the 80's when I helped a friend with a project; tbh, I have not really even looked at much since. I believe it might have been given to them at some point in the past as well, but with an OTA that had been cut cleanly in two, it looked intriguing to say the least.

As can be seen at upper left in the attached composite, the OTA has been wrapped in duct tape for countless years, which albeit is a universal tool, has finally reached the end of it's useful life. Therefore, with the ice & snow still plaguing our area, it seemed like a great time to try to tear it all apart & take a look under the covers.

I found that whoever it was, someone had definitely intended to split the OTA, as the outer coating had been methodically removed and a black line drawn as a guide to the cut. Although I will never know, seeing this gave me some hope to think that it was not a result of an emotional rage by the original owner (or their 'significant other' for that matter), but rather the desperate attempt at innovation by someone having to make an early version of a collapsible newt. in order to take it on a flight to an eclipse or similar astronomical event. ;)

A few other things that caught my eye were the fact that for the size of the scope, the mount seemed quite hefty, coming in at about 20 lbs, and incorporated nicely made, but relatively large, 6-inch diameter setting circles. I'm not sure how they originally mounted the R.A. circle, as when I received the scope it had already been separated from the mount. I also found the old design helical focuser of interest, as well as the single-stalk secondary holder and the twisted metal tripod leg spreader.

Since the mirror had been attached to it's cell using adhesive, which had over time lost adhesion on two sides and was thus allowing the mirror to shift within the cell when tilted, I had to remove and disassemble the construct. In doing so I found that although slightly dusty, the mirror itself seemed to be in fine shape with the back carrying a UPCO Optics sticker stating the measured focal length (34.25 inches making it an f/8) and the quality testing performed through the Franklin Institute in Philadelphia.

From a quick internet search it appears that Universal Precision Company out of Shamokin Dam, PA used to make optics for a variety of vintage manufacturers, including Criterion (a nice surprise since one of our main imaging scopes is a 1970 8-inch, f/7 Criterion newt. we rebuilt many years ago), and was a company known for producing mirrors of good to excellent quality.

Coincidentally, prior to taking an early retirement a few years ago after a 35 year career as a scientist, engineer & programmer for IBM, et. al. (if one considers 35 years 'early retirement' ;) ), knowing I was interested in astronomy an IBM engineering colleague of mine back in the 90's asked if I would look at an old telescope his father had bought decades ago and he now wanted to pass on to his own son. Wishing to help in any way I could, and having always had an interest in vintage astronomical equipment, which may be obvious given the type of scopes I tend to collect, I had him bring it into the office.

I had repaired scopes for others at the time and fortunately this one was a quick fix, and I believe his family enjoyed it for years.

Although I did not get a chance to test it's quality myself, upon inquiring as to the scopes origins, he stated he thought his father had bought it long ago through VernonScope (located in Candor, NY - within about an hour of my home). Knowing the exceptional quality of the products they tended to deal with, I told him it was an indication that it indeed may have superior optics.

Having not thought about that particular repair in many years, I was pleasantly surprised to find that when I dug the attached reflector out of storage, it looked almost identical to the OTA I had fixed for my colleague years ago. If I ever see Mr. Yeier at Stellafane again I'll have to ask him if he ever sold anything like the one I am about to try to resurrect.

In any case, I'm encouraged with what I had found thus far and with a few inches of snow & ice still coating everything here in upstate, NY, I might as well use some of the time to try to breath new life into something from the past. :) .

big stonecrop by Sara Ream

3 1

Pentax K-S2, Auto Sears 55/1.4

DSLR versions of my P&S shots. You can call this collection "methodical" or "uncreative", I don't particularly care.

Judo seminar. Hiroshi Katanishi 8 dan. 2017. Exercises. Methods. Technique. by Store of DVD movies, posters and books. Judo

www.ebay.com/itm/Judo-seminar-Hiroshi-Katanishi-8-dan-201...

kfvideo.ru/

kfvideo.com/

www.youtube.com/user/kallistafilm/

Hiroshi Katanishi is an expert of the European Judo Federation. Specialist of the highest class. Conducts seminars around the world in the framework of the project "Improve your club". Winner of the 8th dan. This is the most sought-after expert compared to 20 other specialists working on this project. It is easier to name the countries where he has not been yet than to list his seminars. It should be noted that the judo technique, which he demonstrates at the seminar, is completely based on the Japanese school of education. Date of birth March 11, 1952. At the time of the seminar in Canada (Vancouver), he was 65 years old, although it is difficult to believe in it.

Judo technique, which Katanishi analyzed at the seminar.

It should be noted that all technical actions were in the standing position from the NAGE WAZA section.

Disc 1 - the technique of the tricks okuri-ashi-barai, ko-uchi-gari, okuri-ashi-harai.

Disk 2 - the technique of o-uchi-gari tricks.

Disk 3 – the technique of ippon-seoi-nage tricks.

Disk 4 – the technique of okuri-ashi-barai, de-ashi-barai, ko-uchi-gari tricks.

Disk 5 – the technique of o-soto-gari tricks.

Disk 6 – the technique of o-soto-gari tricks.

In addition to these tricks, another technique was considered. Katanischi is a good demonstrator. He always supports all his explanations with a real throws. The seminar is designed for coaches working with children of 8 years and older.

Short biography of Hiroshi Katanishi.

8th dan is an expert at Tenri University (Japan).

Technical consultant of the Swiss Judo Federation, as well as technical consultant of the judo magazine "Lesprit-ju-judo". H. Katanishi teaches Judo in Lausanne, Switzerland.

03.11.1952 - Born in Kobe - Hero - Japan.

1970 - 1974 - Studied at the University of Tenri in Japan. 1974 - 1976 - coach of the French team.

Since 1976 - professional trainer and technical director of JKL.Since 1978 - an expert of Swiss dana in judo and jiu-jitsu.1979 - 1985 - National coach of the Swiss women's team.1992 - 1997 - coach of the Swiss national men's team.Since 1999 - Technical Advisor to the Swiss team.Currently he regularly holds seminars on judo techniques and methodics.

Look: Judo seminar

Time: 331 min. / 6 DVDs

Author: Pavlov D.

Language: French. English.

Format: PAL (DVD: 0/All)

Year: 2017

Shooting: Canada

Death Toll Rises to Five, Two Injured in Westlake Conflagration by Los Angeles Fire Department

1

‎WESTLAKE - It took nearly 150 ‪Los Angeles‬ ‪Firefighters‬ nearly two and a half hours to extinguish a major emergency fire in a vacant 2 story office building west of downtown Los Angeles Monday evening.

The Los Angeles Fire Department was summoned at 7:01 PM on June 13, 2016 to a structure fire at 2411 West 8th Street in the Westlake neighborhood not far from MacArthur Park. LAFD responders arrived quickly to find intense fire on the upper floor of a long vacant 14,351 square-foot two story office building, the site of previous blazes.

Firefighters used ground ladders to assist several imperiled persons at windows of the burning structure, with LAFD responders entering the building to performing the rescue of three others.

While extending hoselines to aggressively battle the flames within, LAFD crews sadly discovered and retrieved a dead man from the inferno, before the failing structure forced then to switch to defensive exterior operations twenty minutes into the firefight.

A total of 147 LAFD personnel under the command of Battalion Chief Jaime Moore, confined the blaze to the heavily damaged building of fire origin - which had no functional fire sprinklers, extinguishing the bulk of flame in just 2 hours and 22 minutes.

As a result of witnesses statements, Los Angeles Police Department Officers later detained and arrested an adult male suspected of starting the fire. He and one of the persons earlier rescued by firefighters, were taken to an area hospital by ambulance for evaluation of non-life threatening injuries.

With the flames extinguished well past darkness, firefighters remained at the structurally unsound premises to douse hotspots, prevent public harm and prepare for a further search at daybreak.

Early Tuesday, investigation teams from the LAFD Arson/Counter-Terrorism Section methodically processed the large and still-smoldering site to determine the fire's cause and origin, as highly-trained Human Remains Detection Dog and Handler teams performed a relentless search of the collapsed structure for deceased victims.

With the canines' help, firefighters discovered the remains of four adult victims, two men and two women, amid the rubble on the second floor of the building. Their discovery, combined with the male victim found deceased by firefighters battling the blaze, brought the death tally to five, all of whom appeared to be transients.

No firefighters sustained injury in the firefight, investigation or recovery operations.

A positive identification of the dead persons, to include the cause, time and manner of their death will be determined by the Los Angeles County Department of Medical Examiner-Coroner.

LAFD Incident: 061316-1267

Spoonbills (Platalea leucorodia) 29-9-14 by Brian Carruthers-Dublin-Eire

description

KingdomAnimalia

PhylumChordata

ClassAves

OrderCiconiiformes

FamilyThreskiornithidae

GenusPlatalea (1)

The distinctively spatulate bill of the Eurasian spoonbill lends this tall, pure white waterbird a slightly comical appearance (3). During the breeding season, adults develop a crest of pointed and drooping plumes, as well as patches of yellow on the upper breast and the tip of the bill (2) (3) (4) (5). The rest of the bill is black, as are the long legs. The sexes are similar in overall appearance but the male is somewhat larger than the female, with a longer bill and longer legs (2). Juveniles resemble the non-breeding adults, but have pinkish bills and black tips to the wing feathers (2) (5). Four subspecies, with distinct breeding ranges, are currently recognised: Platalea leucorodia leucorodia, P. l. major, P. l. balsaci, and P. l. archeri (5).

Also known as

European spoonbill, spoonbill.

French

Spatule blanche.

Size

Length: 70 - 95 cm (2)

Weight

1130 - 1960 g (2)

biology

The Eurasian spoonbill forages alone or in small groups, wading methodically through shallow water whilst sweeping its distinctive bill from side to side in search of prey (2). Small fish, aquatic insects, shrimp and other invertebrates comprise the bulk of its diet, but it will also take algae and fragments of aquatic plants, although these may just be accidentally ingested (2) (6). Foraging activity generally peaks around morning and evening, except in coastal areas, where it is governed by the timing of low tide (6).

Populations in the north of this species’ range breed during the spring, whilst in the tropics the timing of the breeding season coincides with the rains. Most breeding pairs nest in monospecific colonies, or mixed species colonies in which they tend to form small monospecific groups. The nest is a platform of twigs, sticks and other bits of vegetation located on the ground on a small island, or up to five metres above the ground in dense reed, bushes, trees or mangroves (2) (6). The female usually lays three to four eggs which are incubated for around 24 to 25 days before hatching (2).

Except for the Northwest Africa (P. l. balsaci) and Red Sea (P. l. archeri) populations, which are sedentary, the Eurasian spoonbill is migratory throughout its range, (5). During migration this species generally flies in formation at considerable height, and, on long-distance flights, uses sites along the way to stopover and recover energy (2).

Top

Eurasian spoonbill range

The wide but fragmented breeding range of the Eurasian spoonbill extends from Europe to northwest Africa, the Red Sea, India and China. Wintering areas include the Atlantic coast of Europe, the Mediterranean, sub-Saharan Africa, southwest Asia, India, Sri Lanka, southern China, and Japan (5).

habitat

The Eurasian spoonbill inhabits fresh and saltwater marshes, estuaries, deltas, tidal creeks, rivers, lakes, reservoirs and mangrove swamps (5) (6). It shows a particular preference for shallow wetlands with a mud, clay or fine sand bottom, as well as islands, dense reedbeds, and scattered trees and shrubs for nesting

Eurasian spoonbill threats

With the notable exception of the western European population (P. l. leucorodia), which appears to be increasing in size, most populations of the Eurasian spoonbill are declining. The subspecies P. l. balsaci is most at risk, with the remaining 750 breeding pairs (as of 2008) restricted to a single site in Mauritania, which faces an increasing risk of flooding due to sea-level rise. Furthermore, a large proportion of the juveniles at this site are killed by predators, such as jackals (5). Elsewhere across its range, the Eurasian spoonbill is threatened by habitat loss and degradation, human disturbance, pollution, hunting, and exploitation of eggs (2) (5) (6).

Top

Eurasian spoonbill conservation

The Eurasian spoonbill is listed under Appendix II of the Convention on the Conservation of Migratory Species of Wild Animals (CMS), which aims to conserve migratory species throughout their range (7). Furthermore, it is also listed under the associated Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA), which calls upon parties to engage in a range of conservation actions to help protect and conserve bird species that are dependent on wetlands for at least part of their annual cycle (8). An action plan for the Eurasian spoonbill was published by the International Spoonbill Working Group in 2008, setting out measures to increase the number of breeding pairs in populations that are currently under threat. This includes habitat rehabilitation and protection, control of predators, protection of Eurasian spoonbills from persecution, and further research into the migratory movements of each subspecies

Tasty Hand-Pulled Noodles by G Dan Mitchell

4

Man in vest and helmet emerges from Tasty Hand-Pulled Noodles, Inc.

This is another quite street photography photograph made in Manhattan, almost certainly along the edges of its Chinatown district. On the scale from instant and intuitive to slow and methodical, this photograph fits in the former category. I think I recall stopping for no longer than a few seconds to photograph this place, and timing a couple of the exposures to include this fellow coming out through the door. Once he was out of the picture my interest waned and we moved on.

Of course the name of the business caught my attention — not just "Noodles" or that word plus someone's name, but "Tasty, hand-pulled noodles, Inc.", and on a shop that wasn't, well, very pretentious. The fellow coming out the door was wearing one of those bright orange reflective vests and a bicycle helmet. I saw no bicycle nearby, but perhaps he was a messenger. Not clear from the photograph, unless you notice how much clothing he is wearing, is that he was apparently out on a bicycle on a day when the temperature barely reached twenty degrees and the wind was blowing strongly.

G Dan Mitchell is a California photographer and visual opportunist. His book, "California's Fall Color: A Photographer's Guide to Autumn in the Sierra" is available from Heyday Books and Amazon.

All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Rusty Gage by Christopher Michel

3

Frederick “Rusty” Gage has spent his life asking a question many neuroscientists once considered heretical: can the adult brain grow new neurons?

When I photographed him at the Salk Institute in February 2026, that question felt less like rebellion and more like legacy. We made portraits in his study overlooking the Pacific, a quiet room washed in coastal light. The ocean moved below the cliffs in long, steady breaths. It is the same office once occupied by Jonas Salk, who recruited Rusty decades ago. The desk, the view, the gravity of the place. You feel it immediately. History is not abstract there. It presses in from the walls.

In the late twentieth century, neuroscience was built on a stark premise: you are born with a fixed number of neurons. Damage them and they are gone. Memory fades. Injury lingers. Aging narrows possibility. Rusty challenged that dogma with careful, methodical experiments that showed new neurons could, in fact, form in the adult hippocampus. The implications were enormous. Learning, mood, resilience, even the biology of hope took on new dimensions.

In person, what strikes you first is his attentiveness. He leans in slightly when you speak, hands folded, eyes steady behind round glasses. There is warmth in him that feels unforced. Soft spoken, yes, but never distant. You sense a mind that is constantly mapping connections, not only between neurons but between people. Students drift in and out of his orbit with ease. Colleagues seek him out. He listens more than he declares.

The study itself holds layers of meaning. Jonas Salk built the institute as a place where scientists could think expansively, where architecture and intellect met the horizon. Standing in that room with Rusty, you understand that recruitment was more than a hire. It was a passing of trust. Salk had imagined a future for biology that included imagination and risk. Rusty carried that forward into the living brain.

His work has since expanded beyond neurogenesis into how the genome shapes the nervous system over time. His lab explores mosaicism in the brain, the idea that our neurons are not genetically identical but subtly varied. The brain becomes not a static organ but a dynamic landscape, shaped by experience and by the restless choreography of DNA. It is a vision of the self that is fluid and intricate.

Photographing him in that office felt less like documenting a single scientist and more like tracing a lineage. Salk sought a vaccine that would protect children from paralysis. Rusty sought evidence that the adult brain was not condemned to decline. Both projects required a certain stubborn optimism. A belief that the body holds more possibility than we assume.

The weight of history was there, yes. But so was something lighter. A current of curiosity that refuses to settle. In Rusty Gage’s presence, you feel that science is not a monument. It is a conversation, still unfolding, with the ocean as witness.

Prayer to the Sun by Vidya

2 4

My Dad - One of the most wonderful men on earth...

0ne of the most important daily routines among the Brahman (Brahmin) is a prayer called SandhyaVandanam i.e. Nithya Anushtanam (Daily routine). There are three types of Karmas- Nithya, Naimithika, and Kamya karmas. Kamya karma is one which is done with a desire to achieve, like a yagya for long life etc .Even if kamya karmas are not done , there is no sin. Naimithika karma is one which is not shastra bound and not niyamic, i.e., a necessary duty , such as taking bath after an eclipse. Nithya karma is one which is `niyata nimitta' meaning ` that which is done which is shastra bound' . Sunrise and sunset are the reason for doing Sandhya vandanam. Hence this is classified in the Nithya karma, which has to be done daily , lifetime. This are the spiritual and profoundly scientific value one get by performing thrice a day, regular SandhyaVandanams.

This prayer is offered thrice everyday, once before sunrise, again at Noon and third at the time of evening before Sunset.

This prayer is a combined subject of Religion, Health, Concentration, Yoga, Meditation, Exercise and Prayer. In one topic, 'Sandhyaa Vandanam' is just the ancient Vedic scripture that has pictured the core element of healthy living.

A marvelous preventive medicine for every age and time, every Brahman in those days supposedly lived for more than 400 years of age, just by simply following these regular prayer offerings. Is it possible ? Can it be true ?

Yes, even in today's polluted environments of air, water and the ecological factor, this practice of daily Sandhyaa Vandanam can be a relief from many a disease that affects the Brahman society.

This routine includes Breathing exercises (inhaling/breathing from one nostril and releasing the carbon dioxode through other nostril and alternating vice versa) (praanaayaamam), thus expanding and enlarging the lungs, and improving the blood circulation level. Because of this routine practice every boy who undergoes this sort of training learns to control his breath and learns to control his entire body mechanism.

Modern science has evolved the above conception as just and perfect for a healthy living. Many Yoga centres, that have spread all over the world now, teach and preach this today, even in the Western countries, where once they considered these Hindu practices as blind faith and foolish.

The practice of SandyaVandanam in itself is daily performed without fail at a calm peaceful atmosphere.

As everyone knows, the Sun being a Star, passes its rays all the time, whether day or night. Without its power, none on the earth can exist. Using these power for the good of human kind is taught in the Vedic scripts. The solar energy can be used not just to produce electricity for batteries etc., but also to recharge ones own body mechanism.

During the noon prayer or Maadhyaanika Sandhyaavandanam, they used perform Soorya Namaskaaram (Worshiping the Star Sun), and there is a methodical way to seeing the Sun and to absorb the rays (solar energy ?) into their body. It is widely believed that Surya Namaskaram cleanses the eye lenses. This practice prevented them from early blindness. (Mind it, looking at the Sun directly may blind your sight and damage your eye lenses, so please learn it from a person who knows it well). While doing this too, they had to chant a prayer dedicated to the Lord and Star Sun, and this vibration, combined with viewing the Sun in a methodical way, increases ones physical strength.

Now let's see the perfect timing to perform the ritual. Sure, the benefit what one gets by doing this is clearly visible. One can experience this on performing it regularly. The right time to perform Sandhya Vandanam:

What is the apt time for doing Sandhya Vandanam ? The name "Sandhya" means the meeting time of Day with night, which is just before and during sunrise and sunset.Sandhi is the time when the sun and the stars are together visible. The practical thing therefore will be to start :

i) In the morning before sunrise, give Arghyam during sunrise and finish just after sunrise.

ii) In the evening, begin before sunset, give Arghyam during sunset and finish later.

The morning and evening sandhis are more ideal since, practically, a person's stomach will be empty doing both sunrise and sunset. This one can be of sure, when a person takes his meals systematically and punctually everyday. An empty stomach is achieved after four hours of a solid meal. An empty stomach is a prerequisite for Sandhyavandanam since there are at least three sets of pranayama totaling 15 in one full routine. A loaded stomach will interfere with pranayama greatly resulting in indigestion, sleepiness etc. Even the madhyahnikam (noon) routine is done with an empty stomach before the meal.

Unless practicing these Vedic systems, one cannot just feel and experience its highest values. What one needs is a simple commitment to the ethos evolved in the ancient Vedas and strict adherence to it in his day to day life. Then only can one gain the full value of peace, health and mental happiness.

Mödling, Baja Austria (el arte de las fachadas de Mödling) - Freiheitsplatz by Josef Lex (El buen soldado Švejk)

2

(further information you can get by clicking on the link at the end of page!)

History

Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel

The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.

Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.

The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.

In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".

In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.

The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.

The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).

In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.

End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).

Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).

In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.

On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.

Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.

geschichte.landesmuseum.net/index.asp?contenturl=http://g...

Ares I-X Rocket 'Super Stack 1' (NASA, Ares, 7/16/09) by NASA's Marshall Space Flight Center

2

With its telltale “Z” stripe showing, the aft center section of the Ares I-X first stage booster is hoisted into place. Using a 325-ton capacity crane, the aft center is being lifted so it can be joined to the aft section already in place on mobile launch platform 1.

Last week the aft section was placed on MLP 1 and locked down by four huge bolts – each of which has 750,000 pounds of tension in them when torqued down. The 100 foot horizontal and 90 foot vertical journey from the center transfer aisle of the VAB into VAB high bay 3 takes many hours due to the methodical nature of handling and moving solid rocket motor segments loaded with hundreds of tons of explosive propellant.

Once the aft center section is in place, the forward center section will soon be brought over and finally the forward section will be joined to the other three. Once we have all 4 sections stacked, we will be ready for the first non-rocket motor section called Super Stack 1.

Image credit: NASA

More about Ares I-X:

www.nasa.gov/aresIX

p.s. You can see all of the Ares photos in the Ares Group in Flickr at: www.flickr.com/groups/ares/ We'd love to have you as a member!

Little Blue Heron (Egretta caerulea) by Brian Carruthers-Dublin-Eire

1

New Jersey USA 12-05-2019

Scientific classification

Domain:Eukaryota

Kingdom:Animalia

Phylum:Chordata

Class:Aves

Order:Pelecaniformes

Family:Ardeidae

Genus:Egretta

Species:E. caerulea

Binomial name

Egretta caerulea

Songs and Calls

Usually silent; squawks when alarmed. Various croaks and screams at nesting colonies.

Family

Herons, Egrets, Bitterns

Habitat

Marshes, swamps, rice fields, ponds, shores. In North America most numerous on fresh waters inland, around river swamps and marshy lakes. Also feeds in wet meadows and even dry fields. Less commonly feeds in salt water, although it may favour such habitat in the Caribbean. Nests in trees or in dense low thickets near water.

Despite its different last name, the Little Blue Heron is probably a close relative of the Snowy Egret. It looks much like a Snowy when it is young, but molts to a dark slate-blue plumage as an adult. Generally wary and hard to approach. Nests in colonies, sometimes of this species alone; in large mixed heronries, Little Blues tend to nest along the edges. Some of its largest colonies are in the lower Mississippi Valley, where it often nests in association with Cattle Egrets.

Feeding Behaviour

Usually slow and methodical in its foraging, walking very slowly in shallows or standing still waiting for prey to approach. May feed in shallow water or on shore, also in grassy fields.

Eggs

3-5, sometimes 1-6. Pale blue-green. Incubation is by both sexes, 20-23 days. Young: Both parents feed young, by regurgitation. Young may climb out of nest onto nearby branches after 2-3 weeks, are capable of short flights at 4 weeks, become independent at 6-7 weeks.

Young

Both parents feed young, by regurgitation. Young may climb out of nest onto nearby branches after 2-3 weeks, are capable of short flights at 4 weeks, become independent at 6-7 weeks.

Diet

Mainly fish and crustaceans. Diet quite variable. Eats mostly small fish (including larger ones than those favored by similar-sized Snowy Egret) and crustaceans, including crabs and crayfish. Away from water eats many grasshoppers and other insects. Other food items include tadpoles, frogs, lizards, snakes, turtles, spiders.

Nesting

Breeds in colonies. Male establishes small territory within colony and displays there, driving away other males. Displays by male include neck-stretching and bill-snapping; pairs in courtship may nibble at each other's plumage, and cross and intertwine necks. Nest: Site is in a tree or shrub, usually 3-15' above ground or water, sometimes up to 40' high. Nest (built by both sexes) is a platform of sticks, varying from flimsy to substantial, with depression in the centre.

Escuela de Mecanica de la Armada.Buenos Aires by marco teodonio

1 2

if you are visiting Buenos Aires, don't miss this place.

Don't forget the 30000 "desaparecidos"

I went and i heard the screams of 5000 peoples slaughtered by the dictatorship in there.

...

The Navy Mechanics School (ESMA) in Buenos Aires was Argentina’s most important clandestine detention and torture center (of 340 documented centers). Torture at ESMA became virtually a routinized, bureaucratic activity. A trip to ESMA typically began with "Caroline", a thick broom handle with two long wires running out the end. The victim was stripped and tied to a steel bed frame. Electricity was applied to the victim, who often was periodically doused with water to increase the effects.

It was unhurried and methodical. If the victim was a woman they went for the breasts, vagina, anus. If a man, they favored genitals, tongue, neck. … Sometimes victims twitched so uncontrollably that they shattered their own arms and legs. Patrick Rice, an Irish priest who had worked in the slums and was detained for several days, recalls watching his flesh sizzle. What he most remembers is the smell. It was like bacon. – Ian Guest, Behind the Disappearances

Children were tortured in front of their parents, and parents in front of their children. One torturer estimates that about 60 babies passed through ESMA, and that all but 2—whose heads had been smashed against the wall in efforts to get their mothers to talk—were sold (John Simpson and Jana Bennett, The Disappeared). And the torture continued for days, weeks, even months, until the victim was released or, more often, killed.

The sadistic brutality did not always even end with the death of the victim. "One woman was sent the hands of her daughter in a shoe box." The body of another young woman "was dumped in her parents’ yard, naked but showing no outward signs of torture. Later the director of the funeral home called to inform her parents that the girl’s vagina had been sewn up. Inside he had found a rat." – V.S. Naipaul, The Return of Evan Perón

Most bodies, however, were never recovered. At ESMA, which also served as a disposal site for other naval camps, corpses were initially buried under the sports field. When this was filled, the bodies were burned daily, at 5:30 in the afternoon, usually after having been cut up with a circular saw. Finally, those in charge of destroying the evidence of their crimes hit on the idea of aerial disposal at sea. Once they mastered the currents—at first bodies washed up in Buenos Aires, then at Montevideo—there was no trace to be found. Other units encased their bodies in cement and dumped them in the river. The army’s preferred method seems to have been to drive the corpses to the cemetary and register them as "NN", Name Unknown.

The Dirty War came to an official end after the Argentine military’s embarrassing failure to reconquer the Malvinas (Falkland Islands) from the British. Two weeks before the election in 1983 that brought a return to civilian rule, the Argentine junta issued a Law of National Reconciliation that created a blanket amnesty for all offenses connected with the "war against subversion". Although a few top military leaders were prosecuted, after several military uprisings the civilian government grants pardons to all in 1990.

12-02 Bsktbll - WCS Crusaders vs Charleston Townies - 84 by Gus Estrella

Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

Shot at ISO 1600, Aperture of 3.5, Shutter speed of 1/400 and Focal Length of 50.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 16:46 EST PM

Nepal - Kathmandu - Thangkha Shop by Manfred Sommer

A thangka, also known as tangka, thanka or tanka (Nepali pronunciation: [ˈt̪ʰaŋka]; Tibetan: ཐང་ཀ་; Nepal Bhasa: पौभा) is a painting on cotton, or silk appliqué, usually depicting a Buddhist deity, scene, or mandala of some sort. The thangka is not a flat creation like an oil painting or acrylic painting but consists of a picture panel which is painted or embroidered over which a textile is mounted and then over which is laid a cover, usually silk. Generally, thangkas last a very long time and retain much of their lustre, but because of their delicate nature, they have to be kept in dry places where moisture won't affect the quality of the silk. It is sometimes called a scroll-painting.

These thangka served as important teaching tools depicting the life of the Buddha, various influential lamas and other deities and bodhisattvas. One subject is The Wheel of Life, which is a visual representation of the Abhidharma teachings (Art of Enlightenment).

Thangka, when created properly, perform several different functions. Images of deities can be used as teaching tools when depicting the life (or lives) of the Buddha, describing historical events concerning important Lamas, or retelling myths associated with other deities. Devotional images act as the centerpiece during a ritual or ceremony and are often used as mediums through which one can offer prayers or make requests. Overall, and perhaps most importantly, religious art is used as a meditation tool to help bring one further down the path to enlightenment. The Buddhist Vajrayana practitioner uses a thanga image of their yidam, or meditation deity, as a guide, by visualizing “themselves as being that deity, thereby internalizing the Buddha qualities (Lipton, Ragnubs).”

Historians note that Chinese painting had a profound influence on Tibetan painting in general. Starting from the 14th and 15th century, Tibetan painting had incorporated many elements from the Chinese, and during the 18th century, Chinese painting had a deep and far-stretched impact on Tibetan visual art. According to Giuseppe Tucci, by the time of the Qing Dynasty, "a new Tibetan art was then developed, which in a certain sense was a provincial echo of the Chinese 18th century's smooth ornate preciosity."

HISTORY

Thangka is a Nepalese art form exported to Tibet after Princess Bhrikuti of Nepal, daughter of King Lichchavi, married Songtsän Gampo, the ruler of Tibet imported the images of Aryawalokirteshwar and other Nepalese deities to Tibet. History of thangka Paintings in Nepal began in 11th century A.D. when Buddhists and Hindus began to make illustration of the deities and natural scenes. Historically, Tibetan and Chinese influence in Nepalese paintings is quite evident in Paubhas (Thangkas). Paubhas are of two types, the Palas which are illustrative paintings of the deities and the Mandala, which are mystic diagrams paintings of complex test prescribed patterns of circles an square each having specific significance. It was through Nepal that Mahayana Buddhism was introduced into Tibet during reign of Angshuvarma in the seventh century A.D. There was therefore a great demand for religious icons and Buddhist manuscripts for newly built monasteries throughout Tibet. A number of Buddhist manuscripts, including Prajnaparamita, were copied in Kathmandu Valley for these monasteries. Astasahas rika Prajnaparamita for example, was copied in Patan in the year 999 A.D., during the reign of Narendra Dev and Udaya Deva, for the Sa-Shakya monastery in Tibet. For the Nor monastery in Tibet, two copies were made in Nepal-one of Astasahasrika Prajnaparamita in 1069 A.D. and the other of Kavyadarsha in 1111 A.D. The influence of Nepalese art extended till Tibet and even beyond in China in regular order during the thirteenth century. Nepalese artisans were dispatched to the courts of Chinese emperors at their request to perform their workmanship and impart expert knowledge. The exemplary contribution made by the artisans of Nepal, specially by the Nepalese innovator and architect Balbahu, known by his popular name Araniko bear testimony to this fact even today. After the introduction of paper, palm leaf became less popular, however, it continued to be used until the eighteenth century. Paper manuscripts imitated the oblong shape but were wider than the palm leaves.

From the fifteenth century onwards, brighter colours gradually began to appear in Nepalese.Thanka / Thangka. Because of the growing importance of the Tantric cult, various aspects of Shiva and Shakti were painted in conventional poses. Mahakala, Manjushri, Lokeshwara and other deities were equally popular and so were also frequently represented in Thanka / Thangka paintings of later dates. As Tantrism embodies the ideas of esoteric power, magic forces, and a great variety of symbols, strong emphasis is laid on the female element and sexuality in the paintings of that period.

Religious paintings worshipped as icons are known as Paubha in Newari and Thanka / Thangka in Tibetan. The origin of Paubha or Thanka / Thangka paintings may be attributed to the Nepalese artists responsible for creating a number of special metal works and wall- paintings as well as illuminated manuscripts in Tibet. Realizing the great demand for religious icons in Tibet, these artists, along with monks and traders, took with them from Nepal not only metal sculptures but also a number of Buddhist manuscripts. To better fulfil the ever - increasing demand Nepalese artists initiated a new type of religious painting on cloth that could be easily rolled up and carried along with them. This type of painting became very popular both in Nepal and Tibet and so a new school of Thanka / Thangka painting evolved as early as the ninth or tenth century and has remained popular to this day. One of the earliest specimens of Nepalese Thanka / Thangka painting dates from the thirteenth /fourteenth century and shows Amitabha surrounded by Bodhisattva. Another Nepalese Thanka / Thangka with three dates in the inscription (the last one corresponding to 1369 A.D.), is one of the earliest known Thanka / Thangka with inscriptions. The "Mandalaof Vishnu " dated 1420 A.D., is another fine example of the painting of this period. Early Nepalese Thangkas are simple in design and composition. The main deity, a large figure, occupies the central position while surrounded by smaller figures of lesser divinities.

Thanka / Thangka painting is one of the major science out the five major and five minor fields of knowledge. Its origin can be traced all the way back to the time of Lord Buddha. The main themes of Thanka / Thangka paintings are religious. During the reign of Tibetan Dharma King Trisong Duetsen the Tibetan masters refined their already well-developed arts through research and studies of different country's tradition. Thanka painting's lining and measurement, costumes, implementations and ornaments are mostly based on Indian styles. The drawing of figures is based on Nepalese style and the background sceneries are based on Chinese style. Thus, the Thanka / Thangka paintings became a unique and distinctive art. Although the practice of thanka painting was originally done as a way of gaining merit it has nowadays only evolved into a money making business and the noble intentions it once carried has been diluted. Tibetans do not sell Thangkas on a large scale as the selling of religious artifacts such as thangkas and idols is frowned upon in the Tibetan community and thus non Tibetan groups have been able to monopolize on its (thangka's) popularity among Buddhist and art enthusiasts from the west.

Thanka / Thangka have developed in the northern Himalayan regions among the Lamas. Besides Lamas, Gurung and Tamang communities are also producing Tankas, which provide substantial employment opportunities for many people in the hills. Newari Thankas (Also known as Paubha) has been the hidden art work in Kathmandu valley from 13th century. We have preserved this art and are exclusively creating this with some particular painter family who have inherited their art from their forefathers. Some of the artistic religious and historical paintings are also done by the Newars of Kathmandu Valley.

TYPES

Based on technique and material, thangkas can be grouped by types. Generally, they are divided into two broad categories: those that are painted (Tib.) bris-tan—and those made of silk, either by appliqué or embroidery.

Thangkas are further divided into these more specific categories:

- Painted in colors (Tib.) tson-tang—the most common type

- Appliqué (Tib.) go-tang

- Black Background—meaning gold line on a black background (Tib.) nagtang

- Blockprints—paper or cloth outlined renderings, by woodcut/woodblock printing

- Embroidery (Tib.) tsem-thang

- Gold Background—an auspicious treatment, used judiciously for peaceful, long-life deities and fully enlightened buddhas

- Red Background—literally gold line, but referring to gold line on a vermillion (Tib.) mar-tang

Whereas typical thangkas are fairly small, between about 18 and 30 inches tall or wide, there are also giant festival thangkas, usually Appliqué, and designed to be unrolled against a wall in a monastery for particular religious occasions. These are likely to be wider than they are tall, and may be sixty or more feet across and perhaps twenty or more high.

Somewhat related are Tibetan tsakli, which look like miniature thangkas, but are usually used as initiation cards or offerings.

Because Thangkas can be quite expensive, people nowadays use posters of Thangkas as an alternative to the real thangkas for religious purposes.

PROCESS

Thangkas are painted on cotton or silk. The most common is a loosely woven cotton produced in widths from 40 to 58 centimeters. While some variations do exist, thangkas wider than 45 centimeters frequently have seams in the support. The paint consists of pigments in a water soluble medium. Both mineral and organic pigments are used, tempered with a herb and glue solution. In Western terminology, this is a distemper technique.

The composition of a thangka, as with the majority of Buddhist art, is highly geometric. Arms, legs, eyes, nostrils, ears, and various ritual implements are all laid out on a systematic grid of angles and intersecting lines. A skilled thangka artist will generally select from a variety of predesigned items to include in the composition, ranging from alms bowls and animals, to the shape, size, and angle of a figure's eyes, nose, and lips. The process seems very methodical, but often requires deep understanding of the symbolism involved to capture the spirit of it.

Thangka often overflow with symbolism and allusion. Because the art is explicitly religious, all symbols and allusions must be in accordance with strict guidelines laid out in Buddhist scripture. The artist must be properly trained and have sufficient religious understanding, knowledge, and background to create an accurate and appropriate thangka. Lipton and Ragnubs clarify this in Treasures of Tibetan Art:

“Tibetan art exemplifies the nirmanakaya, the physical body of Buddha, and also the qualities of the Buddha, perhaps in the form of a deity. Art objects, therefore, must follow rules specified in the Buddhist scriptures regarding proportions, shape, color, stance, hand positions, and attributes in order to personify correctly the Buddha or Deities.”

Hwy 29N Abandoned Home by No Talent Bum

3

I would love to know what brought this home to this moment in time. On a positive note, the place seems to be being dismantled methodically. The only reason I can imagine doing this is a desire to reuse as much of the building's materials as possible. I am so glad it is not just being knocked down into a heap. At least, if parts are to be reused, the house will live on in another form. Just not here. And not with the families that have lived here before.

seo, web promotions, search engine optimization by Kalyan Infotech

1 6

SEO (Search Engine Optimization) is a set of planned activities aimed towards improving the ranking and relevance of a particular site in the search results of major search engines. It is the act of using keywords and other related elements in a methodical way for the search engine crawlers to locate them and place them in high rank in all search results. This in turn generates more traffic to the site resulting in greater business and revenue for the companies. Designing and developing a great site with all the useful information is just not enough. Getting it viewed by maximum number of targeted users can actually get you business.

The Soul Escaping by tltichy

4 4

Normally if I catch someone elses flash in a shot I just delete the shot. With this one however I liked the effect it gave enough to hold on to it. Her posture here, coupled with the flare, are reminiscent of something you would see in a movie where the characters essence is being stolen by some supernatural power. It's as if she was pierced by the light and something is escaping. In actuality she is a contortionist in the "Jeweled Dragons Acrobat Troupe" at Disneys Epcot Center World Showcase. She actually started out with another set of stacked glasses on her feet while lying on her back. Through a sequence of contortions that you'd have to see to believe she slowly and methodically rolled around on the table before standing up at the end.

Tumblr