An Italian Czech, a Belgian American, and an American Italian.....

At the top is a Tanfoglio BTA-90, a copy of the Czech CZ-75 that was made in Italy during the Cold War days when we weren't buying a lot of Czech stuff over here; at left is a Browning 1910, designed by the American John M. Browning and manufactured by Fabrique Nationale in Belgium; and at the bottom is a Beretta 950, made in Maryland after a US law made it illegal to import little pistols like this but they were OK as long as they were made in the USA (go figure).

This ship is from fallen order though it has a custom paint job. It has a semi-full interior as the rear engine-room has been combined with the room in front of it.

This was done because I don't have the pieces to make it both strong and have that rear room. I still was able to get the two decks in the back and the couch though. it is a pretty strong build till you get to the round rotating section. That needs tightened every time it is moved. The wing and lower thruster can be rotated a full 360 degrees around which was a pain to take pictures of.

The wing itself I think is illegal as I'm using Technic half beams to make it double sided (plus it was the only way I could think of attaching the wing securely). The landing gear telescopes into itself in the game which is pretty much impossible at this scale. I originally had the gear fold up inside the body, but it looked ugly when it was down due to the holes needed for retraction.

They also had to have the landing pads removed anyway, so i just made the whole rear gear removable. It looks better and is stronger.

problems:

unable to build full interior.

rear gear is not retractable.

cockpit is nonexistent.

rotating parts need tightening after every movement.

more pics here: bricksafe.com/pages/TheRealBeef1213/star-wars/stinger-mantis

The Prison Ship Martyrs Monument, sometimes referred to as the Soldiers and Sailors Monument, was erected in Fort Greene Park in 1908. Designed by Stanford White, the monument consists of a 100-foot-wide-granite staircase and a 149-foot high central Doric column. The monument, actually the third on the site, marks the site of the crypt for more than 11,500 men, women and children, known as the prison ship martyrs.

During the American Revolutionary War, the British imprisoned scores of soldiers, sailors, and private citizens--many simply because they would not swear allegiance to the Crown of England. When they ran out of jail space, they began using decommissioned ships anchored in Wallabout Bay as floating prisons. Life was unbearable on the prison ships. Disease was rampant, food and water were scarce or nonexistent, and the living conditions were overcrowded and wretched. Their bodies were thrown overboard or buried in shallow graves in the sandy marshes along the shore. In 1808 the remains of the prison ship martyrs were buried in a tomb on Jackson Street (now Hudson Avenue), near the Brooklyn Navy Yard.

In 1776, the construction of Fort Putnam on the high ground that now makes up Fort Greene Park was supervised by American Major General Nathanael Greene. During the Battle of Long Island, the Continental Army surrendered the fort and retreated to Manhattan. The fort was renamed for General Greene and rebuilt for the War of 1812. In 1845, the City of Brooklyn designated the site as a public park behind the support of Walt Whitman, then editor of the Brooklyn Daily Eagle. In 1867, landscape architects Frederick Law Olmsted and Calvert Vaux were engaged to redesign the park, and incorporate a new crypt for the remains of the prison ship martyrs.

The remains were moved to the park in 1873 into the newly created 25 by 11 foot brick vault. Twenty-two boxes, containing a mere fraction of total volume of remains, were interred. Towards the end of the 19th century, a diverse group of interests including the federal government, municipal and state governments, private societies, and donors, began a campaign for a permanent monument to the prison ship martyrs. In 1905 the renowned architectural firm of McKim, Mead and White was hired to design a new entrance to the crypt and a wide granite stairway leading to a plaza on top of the hill. From its center rose a freestanding Doric column crowned by a bronze lantern. President-elect William Howard Taft attended the monument’s dedication in 1908.

Sculptor Adolph Alexander Weinman (1870–1952) created the monument’s bronze pieces -- the large urn or decorative lantern (never functioning) as well as four eagles that were once mounted to the corner granite posts. The eagles were removed to storage after being repeatedly vandalized; two of them are on public display at the Arsenal, the Parks administrative headquarters on Fifth Avenue at 64th Street in Manhattan. A tablet over the entrance to tomb, also in storage now, was donated by the Tammany Society, and was originally the cornerstone of the Navy Yard vault. An elevator and stairs for the interior were installed in 1937; both were removed in 1948 after the monument was renovated by Parks. In 1970 the elevator pit was filled in.

Presently plans are being considered for the renovation of the monument, landscaping of the apex of the park and the re-installation of the conserved eagles and plaque.

The Fort Green Historic District was designated by the New York City Landmarks Preservation Commission in 1978.

Fort Greene Historic District National Register #83001691

The Prison Ship Martyrs Monument, sometimes referred to as the Soldiers and Sailors Monument, was erected in Fort Greene Park in 1908. Designed by Stanford White, the monument consists of a 100-foot-wide-granite staircase and a 149-foot high central Doric column. The monument, actually the third on the site, marks the site of the crypt for more than 11,500 men, women and children, known as the prison ship martyrs.

During the American Revolutionary War, the British imprisoned scores of soldiers, sailors, and private citizens--many simply because they would not swear allegiance to the Crown of England. When they ran out of jail space, they began using decommissioned ships anchored in Wallabout Bay as floating prisons. Life was unbearable on the prison ships. Disease was rampant, food and water were scarce or nonexistent, and the living conditions were overcrowded and wretched. Their bodies were thrown overboard or buried in shallow graves in the sandy marshes along the shore. In 1808 the remains of the prison ship martyrs were buried in a tomb on Jackson Street (now Hudson Avenue), near the Brooklyn Navy Yard.

In 1776, the construction of Fort Putnam on the high ground that now makes up Fort Greene Park was supervised by American Major General Nathanael Greene. During the Battle of Long Island, the Continental Army surrendered the fort and retreated to Manhattan. The fort was renamed for General Greene and rebuilt for the War of 1812. In 1845, the City of Brooklyn designated the site as a public park behind the support of Walt Whitman, then editor of the Brooklyn Daily Eagle. In 1867, landscape architects Frederick Law Olmsted and Calvert Vaux were engaged to redesign the park, and incorporate a new crypt for the remains of the prison ship martyrs.

The remains were moved to the park in 1873 into the newly created 25 by 11 foot brick vault. Twenty-two boxes, containing a mere fraction of total volume of remains, were interred. Towards the end of the 19th century, a diverse group of interests including the federal government, municipal and state governments, private societies, and donors, began a campaign for a permanent monument to the prison ship martyrs. In 1905 the renowned architectural firm of McKim, Mead and White was hired to design a new entrance to the crypt and a wide granite stairway leading to a plaza on top of the hill. From its center rose a freestanding Doric column crowned by a bronze lantern. President-elect William Howard Taft attended the monument’s dedication in 1908.

Sculptor Adolph Alexander Weinman (1870–1952) created the monument’s bronze pieces -- the large urn or decorative lantern (never functioning) as well as four eagles that were once mounted to the corner granite posts. The eagles were removed to storage after being repeatedly vandalized; two of them are on public display at the Arsenal, the Parks administrative headquarters on Fifth Avenue at 64th Street in Manhattan. A tablet over the entrance to tomb, also in storage now, was donated by the Tammany Society, and was originally the cornerstone of the Navy Yard vault. An elevator and stairs for the interior were installed in 1937; both were removed in 1948 after the monument was renovated by Parks. In 1970 the elevator pit was filled in.

Presently plans are being considered for the renovation of the monument, landscaping of the apex of the park and the re-installation of the conserved eagles and plaque.

The Fort Green Historic District was designated by the New York City Landmarks Preservation Commission in 1978.

Fort Greene Historic District National Register #83001691

The Prison Ship Martyrs Monument, sometimes referred to as the Soldiers and Sailors Monument, was erected in Fort Greene Park in 1908. Designed by Stanford White, the monument consists of a 100-foot-wide-granite staircase and a 149-foot high central Doric column. The monument, actually the third on the site, marks the site of the crypt for more than 11,500 men, women and children, known as the prison ship martyrs.

During the American Revolutionary War, the British imprisoned scores of soldiers, sailors, and private citizens--many simply because they would not swear allegiance to the Crown of England. When they ran out of jail space, they began using decommissioned ships anchored in Wallabout Bay as floating prisons. Life was unbearable on the prison ships. Disease was rampant, food and water were scarce or nonexistent, and the living conditions were overcrowded and wretched. Their bodies were thrown overboard or buried in shallow graves in the sandy marshes along the shore. In 1808 the remains of the prison ship martyrs were buried in a tomb on Jackson Street (now Hudson Avenue), near the Brooklyn Navy Yard.

In 1776, the construction of Fort Putnam on the high ground that now makes up Fort Greene Park was supervised by American Major General Nathanael Greene. During the Battle of Long Island, the Continental Army surrendered the fort and retreated to Manhattan. The fort was renamed for General Greene and rebuilt for the War of 1812. In 1845, the City of Brooklyn designated the site as a public park behind the support of Walt Whitman, then editor of the Brooklyn Daily Eagle. In 1867, landscape architects Frederick Law Olmsted and Calvert Vaux were engaged to redesign the park, and incorporate a new crypt for the remains of the prison ship martyrs.

The remains were moved to the park in 1873 into the newly created 25 by 11 foot brick vault. Twenty-two boxes, containing a mere fraction of total volume of remains, were interred. Towards the end of the 19th century, a diverse group of interests including the federal government, municipal and state governments, private societies, and donors, began a campaign for a permanent monument to the prison ship martyrs. In 1905 the renowned architectural firm of McKim, Mead and White was hired to design a new entrance to the crypt and a wide granite stairway leading to a plaza on top of the hill. From its center rose a freestanding Doric column crowned by a bronze lantern. President-elect William Howard Taft attended the monument’s dedication in 1908.

Sculptor Adolph Alexander Weinman (1870–1952) created the monument’s bronze pieces -- the large urn or decorative lantern (never functioning) as well as four eagles that were once mounted to the corner granite posts. The eagles were removed to storage after being repeatedly vandalized; two of them are on public display at the Arsenal, the Parks administrative headquarters on Fifth Avenue at 64th Street in Manhattan. A tablet over the entrance to tomb, also in storage now, was donated by the Tammany Society, and was originally the cornerstone of the Navy Yard vault. An elevator and stairs for the interior were installed in 1937; both were removed in 1948 after the monument was renovated by Parks. In 1970 the elevator pit was filled in.

Presently plans are being considered for the renovation of the monument, landscaping of the apex of the park and the re-installation of the conserved eagles and plaque.

The Fort Green Historic District was designated by the New York City Landmarks Preservation Commission in 1978.

Fort Greene Historic District National Register #83001691

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NY Times, Dec. 4 2011

Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.

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Hiroko Masuike/The New York Times

Kareem Barnes of Tic and Tac collected donations on Sunday.

Enlarge This Image

Hiroko Masuike/The New York Times

Joe Mangrum showed his sand paintings on Sunday.

In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.

Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.

The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.

The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.

At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.

“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.

The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.

Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.

“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.

But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.

“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”

Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.

The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.

“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”

Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.

Mr. Benepe insisted that the rules would not scare off future music legends.

“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”

Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.

In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”

"Auto Museum Volkswagen - Germany - Wolfsburg"

_______________________________________

The Ford Model T (colloquially known as the Tin Lizzie, T‑Model Ford, Model T, T, Leaping Lena, or flivver) is an automobile that was produced by Ford Motor Company from October 1, 1908, to May 26, 1927. It is generally regarded as the first affordable automobile, the car that opened travel to the common middle-class American; some of this was because of Ford's efficient fabrication, including assembly line production instead of individual hand crafting.

The Ford Model T was named the most influential car of the 20th century in the 1999 Car of the Century competition, ahead of the BMC Mini, Citroën DS, and Volkswagen Type 1. With 16.5 million sold it stands eighth on the top ten list of most sold cars of all time as of 2012.

Although automobiles had already existed for decades, they were still mostly scarce and expensive at the Model T's introduction in 1908. Positioned as reliable, easily maintained mass market transportation, it was a runaway success. In a matter of days after the release, 15,000 orders were placed. The first production Model T was produced on August 12, 1908 and left the factory on September 27, 1908, at the Ford Piquette Avenue Plant in Detroit, Michigan. On May 26, 1927, Henry Ford watched the 15 millionth Model T Ford roll off the assembly line at his factory in Highland Park, Michigan.

There were several cars produced or prototyped by Henry Ford from the founding of the company in 1903 until the Model T was introduced. Although he started with the Model A, there were not 19 production models (A through T); some were only prototypes. The production model immediately before the Model T was the Model S, an upgraded version of the company's largest success to that point, the Model N. The follow-up was the Ford Model A (rather than any Model U). The company publicity said this was because the new car was such a departure from the old that Henry wanted to start all over again with the letter A.

The Model T was Ford's first automobile mass-produced on moving assembly lines with completely interchangeable parts, marketed to the middle class. Henry Ford said of the vehicle:

I will build a car for the great multitude. It will be large enough for the family, but small enough for the individual to run and care for. It will be constructed of the best materials, by the best men to be hired, after the simplest designs that modern engineering can devise. But it will be so low in price that no man making a good salary will be unable to own one – and enjoy with his family the blessing of hours of pleasure in God's great open spaces.

Although credit for the development of the assembly line belongs to Ransom E. Olds with the first mass-produced automobile, the Oldsmobile Curved Dash, beginning in 1901, the tremendous advancements in the efficiency of the system over the life of the Model T can be credited almost entirely to the vision of Ford and his engineers.

CHARACTERISTICS

The Model T was designed by Childe Harold Wills, and Hungarian immigrants Joseph A. Galamb and Eugene Farkas. Henry Love, C. J. Smith, Gus Degner and Peter E. Martin were also part of the team. Production of the Model T began in the third quarter of 1908. Collectors today sometimes classify Model Ts by build years and refer to these as "model years", thus labeling the first Model Ts as 1909 models. This is a retroactive classification scheme; the concept of model years as we conceive it today did not exist at the time. The nominal model designation was "Model T", although design revisions did occur during the car's two decades of production.

ENGINE

The Model T had a front-mounted 2.9 L inline four-cylinder engine, producing 20 hp (15 kW), for a top speed of 64–72 km/h. According to Ford Motor Company, the Model T had fuel economy on the order of 13–21 mpg-US (16–25 mpg-imp; 18–11 L/100 km). The engine was capable of running on gasoline, kerosene, or ethanol, although the decreasing cost of gasoline and the later introduction of Prohibition made ethanol an impractical fuel for most users.

The ignition system used an unusual trembler coil system to drive the spark plugs, as used for stationary gas engines, rather than the expensive magnetos that were used on other cars. This ignition also made the Model T more flexible as to the quality or type of fuel it used. The need for a starting battery and also Ford's use of an unusual AC alternator located inside the flywheel housing encouraged the adoption of electric lighting (standard fitment as of 1915), rather than oil or acetylene lamps, but it also delayed the adoption of electric starting, which was not offered until 1919.

TRANSMISSION AND DRIVE TRAIN

The Model T was a rear-wheel drive vehicle. Its transmission was a planetary gear type billed as "three speed". In today's terms it would be considered a two-speed, because one of the three speeds was reverse.

The Model T's transmission was controlled with three foot pedals and a lever that was mounted to the road side of the driver's seat. The throttle was controlled with a lever on the steering wheel. The left pedal was used to engage the gear. With the floor lever in either the mid position or fully forward and the pedal pressed and held forward the car entered low gear. When held in an intermediate position the car was in neutral. If the left pedal was released, the Model T entered high gear, but only when the lever was fully forward – in any other position the pedal would only move up as far as the central neutral position. This allowed the car to be held in neutral while the driver cranked the engine by hand. The car could thus cruise without the driver having to press any of the pedals. There was no separate clutch pedal.

When the car was in neutral, the middle pedal was used to engage reverse gear, and the right pedal operated the transmission brake – there were no separate brakes on the wheels. The floor lever also controlled the parking brake, which was activated by pulling the lever all the way back. This doubled as an emergency brake.

Although it was uncommon, the drive bands could fall out of adjustment, allowing the car to creep, particularly when cold, adding another hazard to attempting to start the car: a person cranking the engine could be forced backward while still holding the crank as the car crept forward, although it was nominally in neutral. As the car utilized a wet clutch, this condition could also occur in cold weather, when the thickened oil prevents the clutch discs from slipping freely. Power reached the differential through a single universal joint attached to a torque tube which drove the rear axle; some models (typically trucks, but available for cars as well) could be equipped with an optional two-speed Ruckstell rear axle shifted by a floor-mounted lever which provided an underdrive gear for easier hill climbing. All gears were vanadium steel running in an oil bath.

Transmission bands and linings

Two main types of band lining material were used:

Cotton – Cotton woven linings were the original type fitted and specified by Ford. Generally, the cotton lining is "kinder" to the drum surface, with damage to the drum caused only by the retaining rivets scoring the drum surface. Although this in itself did not pose a problem, a dragging band resulting from improper adjustment caused overheating transmission and engine, diminished power, and – in the case of cotton linings – rapid destruction of the band lining.

Wood – Wooden linings were originally offered as a "longer life" accessory part during the life of the Model T. They were a single piece of steam bent cottonwood[citation needed] fitted to the normal Model T transmission band. These bands give a very different feel to the pedals, with much more of a "bite" feel. The sensation is of a definite "grip" of the drum and seemed to noticeably increase the feel, in particular of the brake drum.

SUSPENSION AND WHEELS

Model T suspension employed a transversely mounted semi-elliptical spring for each of the front and rear beam axles which allowed a great deal of wheel movement to cope with the dirt roads of the time.

The front axle was drop forged as a single piece of vanadium steel. Ford twisted many axles through eight full rotations (2880 degrees) and sent them to dealers to be put on display to demonstrate its superiority. The Model T did not have a modern service brake. The right foot pedal applied a band around a drum in the transmission, thus stopping the rear wheels from turning. The previously mentioned parking brake lever operated band brakes acting on the inside of the rear brake drums, which were an integral part of the rear wheel hubs. Optional brakes that acted on the outside of the brake drums were available from aftermarket suppliers.

Wheels were wooden artillery wheels, with steel welded-spoke wheels available in 1926 and 1927.

Tires were pneumatic clincher type, 76 cm in diameter, 8.9 cm wide in the rear, 7.5 cm wide in the front. Clinchers needed much higher pressure than today's tires, typically 60 psi (410 kPa), to prevent them from leaving the rim at speed. Horseshoe nails on the roads, together with the high pressure, made flat tires a common problem.

Balloon tires became available in 1925. They were 53 cm × 11 cm all around. Balloon tires were closer in design to today's tires, with steel wires reinforcing the tire bead, making lower pressure possible – typically 35 psi (240 kPa) – giving a softer ride. The old nomenclature for tire size changed from measuring the outer diameter to measuring the rim diameter so 530 mm (rim diameter) × 110 mm (tire width) wheels has about the same outer diameter as 76 cm clincher tires. All tires in this time period used an inner tube to hold the pressurized air; "tubeless" tires were not generally in use until much later.

Wheelbase was 254 cm and standard tread width was 142 cm; 152 cm tread could be obtained on special order, "for Southern roads", identical to the pre-Civil War track gauge for many railroads in the former Confederacy.

COLORS

By 1918, half of all the cars in the US were Model Ts. However, it was a monolithic bloc; Ford wrote in his autobiography that in 1909 he told his management team that in the future “Any customer can have a car painted any color that he wants so long as it is black”.

However, in the first years of production from 1908 to 1913, the Model T was not available in black but rather only gray, green, blue, and red. Green was available for the touring cars, town cars, coupes, and Landaulets. Gray was only available for the town cars, and red only for the touring cars. By 1912, all cars were being painted midnight blue with black fenders. It was only in 1914 that the "any color so long as it is black" policy was finally implemented. It is often stated that Ford suggested the use of black from 1914 to 1926 due to the cheap cost and durability of black paint. During the lifetime production of the Model T, over 30 types of black paint were used on various parts of the car. These were formulated to satisfy the different means of applying the paint to the various parts, and had distinct drying times, depending on the part, paint, and method of drying.

BODY

Although Ford classified the Model T with a single letter designation throughout its entire life and made no distinction by model years, there were enough significant changes to the body over the production life that the car can be classified into five distinct generations. Among the most immediately visible and identifiable changes were in the hood and cowl areas, although many other modifications were made to the vehicle.

1909–1914 – T1 – Characterized by a nearly straight, five-sided hood, with a flat top containing a center hinge and two side sloping sections containing the folding hinges. The firewall was flat from the windshield down with no distinct cowl.

1915–1916 – T2 – The hood design was nearly the same five sided design with the only obvious change being the addition of louvers to the vertical sides. There was a significant change to the cowl area with the windshield relocated significantly behind the firewall and joined with a compound contoured cowl panel.

1917–1923 – T3 – The hood design was changed to a tapered design with a curved top. the folding hinges were now located at the joint between the flat sides and the curved top. This is sometime referred to as the low hood to distinguish if from the later hoods. The back edge of the hood now met the front edge of the cowl panel so that no part of the flat firewall was visible outside of the hood. This design was used the longest and during the highest production years accounting for about half of the total number of Model T's built.

1923–1925 – T4 – This change was made during the 1923 calendar year so models built earlier in the year have the older design while later vehicles have the newer design. The taper of the hood was increased and the rear section at the firewall is about an inch taller and several inches wider than the previous design. While this is a relatively minor change, the parts between the third and fourth generation are not interchangeable.

1926–1927 – T5 – This design change made the greatest difference in the appearance of the car. The hood was again enlarged with the cowl panel no longer a compound curve and blended much more with the line of the hood. The distance between the firewall and the windshield was also increased significantly. This style is sometimes referred to as the high hood.

The styling on the fifth generation was a preview for the following Model A but the two models are visually quite different as the body on the A was much wider and had curved doors as opposed to the flat doors on the T.

DIVERSE APPLICATIONS

When the Model T was designed and introduced, the infrastructure of the world was quite different from today's. Pavement was a rarity except for sidewalks and a few big-city streets. (The sense of the term "pavement" as equivalent with "sidewalk" comes from that era, when streets and roads were generally dirt and sidewalks were a paved way to walk along them.) Agriculture was the occupation of many people. Power tools were scarce outside factories, as were power sources for them; electrification, like pavement, was found usually only in larger towns. Rural electrification and motorized mechanization were embryonic in some regions and nonexistent in most. Henry Ford oversaw the requirements and design of the Model T based on contemporary realities. Consequently, the Model T was (intentionally) almost as much a tractor and portable engine as it was an automobile. It has always been well regarded for its all-terrain abilities and ruggedness. It could travel a rocky, muddy farm lane, cross a shallow stream, climb a steep hill, and be parked on the other side to have one of its wheels removed and a pulley fastened to the hub for a flat belt to drive a bucksaw, thresher, silo blower, conveyor for filling corn cribs or haylofts, baler, water pump, electrical generator, and many other applications. One unique application of the Model T was shown in the October 1922 issue of Fordson Farmer magazine. It showed a minister who had transformed his Model T into a mobile church, complete with small organ.

During this era, entire automobiles (including thousands of Model Ts) were even hacked apart by their owners and reconfigured into custom machinery permanently dedicated to a purpose, such as homemade tractors and ice saws,. Dozens of aftermarket companies sold prefab kits to facilitate the T's conversion from car to tractor. The Model T had been around for a decade before the Fordson tractor became available (1917–18), and many Ts had been converted for field use. (For example, Harry Ferguson, later famous for his hitches and tractors, worked on Eros Model T tractor conversions before he worked with Fordsons and others.) During the next decade, Model T tractor conversion kits were harder to sell, as the Fordson and then the Farmall (1924), as well as other light and affordable tractors, served the farm market. But during the Depression (1930s), Model T tractor conversion kits had a resurgence, because by then used Model Ts and junkyard parts for them were plentiful and cheap.

Like many popular car engines of the era, the Model T engine was also used on home-built aircraft (such as the Pietenpol Sky Scout) and motorboats.

An armored car variant (called the FT-B) was developed in Poland in 1920.

Many Model Ts were converted into vehicles which could travel across heavy snows with kits on the rear wheels (sometimes with an extra pair of rear-mounted wheels and two sets of continuous track to mount on the now-tandemed rear wheels, essentially making it a half-track) and skis replacing the front wheels. They were popular for rural mail delivery for a time. The common name for these conversions of cars and small trucks was "snowflyers". These vehicles were extremely popular in the northern reaches of Canada where factories were set up to produce them.

A number of companies built Model T–based railcars. In The Great Railway Bazaar, Paul Theroux mentions a rail journey in India on such a railcar. The New Zealand Railways Department's RM class included a few.

PRODUCTION

MASS PRODUCTION

The knowledge and skills needed by a factory worker were reduced to 84 areas. When introduced, the T used the building methods typical at the time, assembly by hand, and production was small. The Ford Piquette Avenue Plant could not keep up with demand for the Model T, and only 11 cars were built there during the first full month of production. More and more machines were used to reduce the complexity within the 84 defined areas. In 1910, after assembling nearly 12,000 Model Ts, Henry Ford moved the company to the new Highland Park complex.

As a result, Ford's cars came off the line in three-minute intervals, much faster than previous methods, reducing production time by a factor of eight (requiring 12.5 hours before, 93 minutes afterwards), while using less manpower. By 1914, the assembly process for the Model T had been so streamlined it took only 93 minutes to assemble a car. That year Ford produced more cars than all other automakers combined. The Model T was a great commercial success, and by the time Henry made his 10 millionth car, 50 percent of all cars in the world were Fords. It was so successful that Ford did not purchase any advertising between 1917 and 1923, instead it became so famous that people now considered it a norm; more than 15 million Model Ts were manufactured, reaching a rate of 9,000 to 10,000 cars a day in 1925, or 2 million annually, more than any other model of its day, at a price of just $260 (or about $3,240 in 2016 dollars). Model T production was finally surpassed by the Volkswagen Beetle on February 17, 1972.

Henry Ford's ideological approach to Model T design was one of getting it right and then keeping it the same; he believed the Model T was all the car a person would, or could, ever need. As other companies offered comfort and styling advantages, at competitive prices, the Model T lost market share. Design changes were not as few as the public perceived, but the idea of an unchanging model was kept intact. Eventually, on May 26, 1927, Ford Motor Company ceased US production and began the changeovers required to produce the Model A. Some of the other Model T factories in the world continued a short while.

Model T engines continued to be produced until August 4, 1941. Almost 170,000 were built after car production stopped, as replacement engines were required to service already produced vehicles. Racers and enthusiasts, forerunners of modern hot rodders, used the Model T's block to build popular and cheap racing engines, including Cragar, Navarro, and famously the Frontenacs ("Fronty Fords") of the Chevrolet brothers, among many others.

The Model T employed some advanced technology, for example, its use of vanadium steel alloy. Its durability was phenomenal, and many Model Ts and their parts remain in running order nearly a century later. Although Henry Ford resisted some kinds of change, he always championed the advancement of materials engineering, and often mechanical engineering and industrial engineering.

In 2002, Ford built a final batch of six Model Ts as part of their 2003 centenary celebrations. These cars were assembled from remaining new components and other parts produced from the original drawings. The last of the six was used for publicity purposes in the UK.

Although Ford no longer manufactures parts for the Model T, many parts are still manufactured through private companies as replicas to service the thousands of Model Ts still in operation today. On May 26, 1927 Henry Ford and his son Edsel, drove the 15 millionth Model T out of the factory. This marked the famous automobile's official last day of production at the main factory.

PRICE AND PRODUCTION

The assembly line system allowed Ford to sell his cars at a price lower than his competitors due to the efficiency of the system. As he continued to fine-tune the system, he was able to keep reducing his costs. As his volume increased, he was able to also lower the prices due to fixed costs being spread over a larger number of vehicles. Other factors affected the price such as material costs and design changes.

The figures below are US production numbers compiled by R.E. Houston, Ford Production Department, August 3, 1927. The figures between 1909 and 1920 are for Ford's fiscal year. From 1909 to 1913, the fiscal year was from October 1 to September 30 the following calendar year with the year number being the year it ended in. For the 1914 fiscal year, the year was October 1, 1913 through July 31, 1914. Starting in August 1914, and through the end of the Model T era, the fiscal year was August 1 through July 31. Beginning with January 1920 the figures are for the calendar year.

RECYCLING

Henry Ford used wood scraps from the production of Model Ts to make charcoal. Originally named Ford Charcoal, the name was changed to Kingsford Charcoal after Ford's brother-in-law E. G. Kingsford brokered the selection of the new charcoal plant site. Lumber for production of the Model T came from the same location, built in 1920 called the Ford Iron Mountain Plant, which incorporated a sawmill where lumber from Ford purchased land in the Upper Peninsula of Michigan was sent to the River Rouge Plant; scrap wood was then returned for charcoal production.

FIRST GLOBAL CAR

The Ford Model T was the first automobile built by various countries simultaneously since they were being produced in Walkerville, Canada and in Trafford Park, Greater Manchester, England starting in 1911 and were later assembled in Germany, Argentina, France, Spain, Denmark, Norway, Belgium, Brazil, Mexico, and Japan, as well as several locations throughout the US. Ford made use of the knock-down kit concept almost from the beginning of the company as freight and production costs from Detroit had Ford assembling vehicles in major metropolitan centers of the US.

The Aeroford was an English automobile manufactured in Bayswater, London, from 1920 to 1925. It was a Model T with distinct hood and grille to make it appear to be a totally different design, what later would have been called badge engineering. The Aeroford sold from £288 in 1920, dropping to £168-214 by 1925. It was available as a two-seater, four-seater, or coupé.

ADVERTISING AND MARKETING

Ford created a massive publicity machine in Detroit to ensure every newspaper carried stories and advertisements about the new product. Ford's network of local dealers made the car ubiquitous in virtually every city in North America. As independent dealers, the franchises grew rich and publicized not just the Ford but the very concept of automobiling; local motor clubs sprang up to help new drivers and to explore the countryside. Ford was always eager to sell to farmers, who looked on the vehicle as a commercial device to help their business. Sales skyrocketed – several years posted around 100 percent gains on the previous year.

CAR CLUBS

Cars built before 1919 are classed as veteran cars and later models as vintage cars. Today, four main clubs exist to support the preservation and restoration of these cars: the Model T Ford Club International, the Model T Ford Club of America[51] and the combined clubs of Australia. With many chapters of clubs around the world, the Model T Ford Club of Victoria[52] has a membership with a considerable number of uniquely Australian cars. (Australia produced its own car bodies, and therefore many differences occurred between the Australian bodied tourers and the US/Canadian cars.) In the UK, the Model T Ford Register of Great Britain celebrated its 50th anniversary in 2010. Many steel Model T parts are still manufactured today, and even fiberglass replicas of their distinctive bodies are produced, which are popular for T-bucket style hot rods (as immortalized in the Jan and Dean surf music song "Bucket T", which was later recorded by The Who). In 1949, more than twenty years after the end of production, 200,000 Model Ts were registered in the United States. In 2008, it was estimated that about 50,000 to 60,000 Ford Model Ts remain roadworthy.

WIKIPEDIA

Public domain image from United States Dept. of Agriculture's Agricultural Research Service.

A bowl of berries is a treat for the eye as well as a delight for the palate. But these tasty little morsels happen to be quite tricky to grow, harvest, and handle. These crops tend to have brief growing seasons and are vulnerable to insects, disease, and even birds, so ARS scientists have given them lots of attention.

Take strawberries. In the 1950's, ARS actually saved the strawberry industry in the Great Lakes region when we released the first varieties that could survive red stele, a root-rotting fungus. We're also old hands at strawberry breeding. ARS came up with such June-bearing favorites as Earliglow, a sweet and juicy berry with a wonderful flavor. We've also bred berries that bear fruit from spring until well into the fall like Tribute and Tristar, which have brought new market opportunities to Northwest strawberry growers.

Fifteen years ago, blueberries were practically nonexistent in the Gulf States. But our early-ripening varieties have extended highbush blueberry culture to the Deep South. Today, over 10,000 acres are grown in Dixie, with more than 4,000 acres thriving throughout Texas, Louisiana, and Alabama.

In the Pacific Northwest, where most of our red raspberries are grown, Willamette, a 1943 release, still accounts for 40 percent of the red raspberry acreage.

And, when USDA blackberry breeders introduced the first truly genetic thornless blackberries, Thornfree and Smoothstem, they caused a small roadside revolution. The new varieties were just what some growers needed to establish pick-your-own operations.

Photo by Scott Bauer.

The Prison Ship Martyrs Monument, sometimes referred to as the Soldiers and Sailors Monument, was erected in Fort Greene Park in 1908. Designed by Stanford White, the monument consists of a 100-foot-wide-granite staircase and a 149-foot high central Doric column. The monument, actually the third on the site, marks the site of the crypt for more than 11,500 men, women and children, known as the prison ship martyrs.

During the American Revolutionary War, the British imprisoned scores of soldiers, sailors, and private citizens--many simply because they would not swear allegiance to the Crown of England. When they ran out of jail space, they began using decommissioned ships anchored in Wallabout Bay as floating prisons. Life was unbearable on the prison ships. Disease was rampant, food and water were scarce or nonexistent, and the living conditions were overcrowded and wretched. Their bodies were thrown overboard or buried in shallow graves in the sandy marshes along the shore. In 1808 the remains of the prison ship martyrs were buried in a tomb on Jackson Street (now Hudson Avenue), near the Brooklyn Navy Yard.

In 1776, the construction of Fort Putnam on the high ground that now makes up Fort Greene Park was supervised by American Major General Nathanael Greene. During the Battle of Long Island, the Continental Army surrendered the fort and retreated to Manhattan. The fort was renamed for General Greene and rebuilt for the War of 1812. In 1845, the City of Brooklyn designated the site as a public park behind the support of Walt Whitman, then editor of the Brooklyn Daily Eagle. In 1867, landscape architects Frederick Law Olmsted and Calvert Vaux were engaged to redesign the park, and incorporate a new crypt for the remains of the prison ship martyrs.

The remains were moved to the park in 1873 into the newly created 25 by 11 foot brick vault. Twenty-two boxes, containing a mere fraction of total volume of remains, were interred. Towards the end of the 19th century, a diverse group of interests including the federal government, municipal and state governments, private societies, and donors, began a campaign for a permanent monument to the prison ship martyrs. In 1905 the renowned architectural firm of McKim, Mead and White was hired to design a new entrance to the crypt and a wide granite stairway leading to a plaza on top of the hill. From its center rose a freestanding Doric column crowned by a bronze lantern. President-elect William Howard Taft attended the monument’s dedication in 1908.

Sculptor Adolph Alexander Weinman (1870–1952) created the monument’s bronze pieces -- the large urn or decorative lantern (never functioning) as well as four eagles that were once mounted to the corner granite posts. The eagles were removed to storage after being repeatedly vandalized; two of them are on public display at the Arsenal, the Parks administrative headquarters on Fifth Avenue at 64th Street in Manhattan. A tablet over the entrance to tomb, also in storage now, was donated by the Tammany Society, and was originally the cornerstone of the Navy Yard vault. An elevator and stairs for the interior were installed in 1937; both were removed in 1948 after the monument was renovated by Parks. In 1970 the elevator pit was filled in.

Presently plans are being considered for the renovation of the monument, landscaping of the apex of the park and the re-installation of the conserved eagles and plaque.

The Fort Green Historic District was designated by the New York City Landmarks Preservation Commission in 1978.

Fort Greene Historic District National Register #83001691

The view from inside a rickshaw on my way to Old Delhi Railway Station.

Another constant in my travel writing are apologetic pleas for readers to accept the fact that I am not a miserable traveler nor do I hate everyone. I just wish so fiercely to experience other people who have a genuine interest in open discourse without a constant attempt to appear superior to me or riddling me with politically minded questions about why my country is so strange to them. The US is awesome and I am always reminded of this when I inevitably hit a point, usually two weeks into my travels, where I just want some Little Caesars. I’m sure Nepalis traveling abroad throw their hands up after a couple of weeks and just want some dal bhat. We aren’t that different. While reading a book on the train the next morning I was reminded that travel is a constant yin and yang. I’m really not a huge dick, but traveling can be stressful sometimes.

American tendencies would block an urge to openly introducing myself to another tourist who is quietly reading. Indian travelers are not equipped with this same tendency. From around the pages of my book I noticed the body of an older Indian man sheepishly lingering within my comfort bubble. After the previous evenings one-sided conversation I was in no mood to start another discussion, but I had a feeling that this gentleman was interested in a very different style of communication. I lowered my book, moved my feet, and offered the man a seat next to me. He quickly introduced himself before asking where I had originated. He was very excited to find out that I was from the States and the conversation was on a roll. He was a pathologist specializing in agriculture and his primary concern was in commercially cultivated spices. He shared many stories of the Americans who helped to found the school where he worked, the buildings that they built, the funds that they gave, and the continuing partnership between the US and his school. He was a very interesting man but his excitement to share his stories with me was blocked by his English. Although we talked for quite a while I am sure that I only ended up with about thirty to forty percent of what he was trying to get across and he left very little space in the conversation for me in the way of probing questions.

Despite our conversational short fall he was very helpful in making sure that I got off at the correct station and went to the staff several times to check and recheck that my stop was coming up. Getting myself lost in India was not on my to-do list that day and what he lacked in English he more than made up for in reading body language. The train had begun to stop more frequently and he noticed my anxiety building. He assured me that I would not miss my stop and he delivered on that promise. A conversation that I had thought would result in me banging my head against the window until I fell through and onto the tracks ended in a friendly handshake and smiles. “Enjoy your time in India and good luck in Gorakhpur,” were his parting words

A man stands for a portrait in Jaipur, India. He was very excited to see himself and would move as soon as the shutter snapped.

Gorakhpur, India is like a smaller, dumpier version of Old Delhi. This is the wild west and I am was very lost and slightly terrified newcomer. Pollution and filth stick to you the moment immediately after disembarking from the station. The only difference between Gorakhpur and Delhi is that there are almost no tourists who come through this Gorakhpur so some of the English guideposts and conveniences are nonexistent. To say that my travel plans are at times chaotic does no service to the feelings that was over me when I arrive at a destination realizing that I had left myself with little in the way of a path to follow. I had prepared nothing to help me get from the station to a bus that would usher me to the promised land of Nepal. I was waiting for a Marty McFly -Back to the Future III one of the greatest movies of all time- moment to befall me, but I somehow managed to walk in the relatively correct direction and by way of hand signals, stick figure drawings and the always trusted dollar I managed to get within striking range of a bus to the border.

My bus was started and ready to go. I had arrived as if delivered by some grand design, but in fact it was my continual good luck that had dropped me at the door of the bus that would take me to the border. I was not on time. The bus was running late. The very new and very nice bag that was the safe keeping travel vessel of my new camera gear was stowed away in the bowels of a dirty, rusty and barely attached boot compartment at the rear of the bus with, what I could only assume were lead bricks, stacked on top. The seat that I had so graciously been given to me was at the back of the bus. India is not built for people my size. It is built for the 1.2 billion small people that live there. The standard seats on a local bus are not very comfortable. The back of the bus is reserved for the smallest, most petite of the subcontinent. Anyone approaching a standard sized human in the US would be incredibly uncomfortable back there. I got a ticket for the bench in the back. Fucking fuck.

This would not have been so bad if not for the woman who had purchased the seat directly in front of me and was determined to take up as much space as she could manage. She placed a wooden plank between the last two bench seats, thus closing off the bench in the back from the front of the bus. My knees became her back rest while the seats on her sides became her cup holders and it appeared to be nap time. This bitch took up every inch of space that her small body could possibly occupy. When a person is so rude that the people on a local Indian bus want to murder you have truly reached the peak of Mount Dickbag. I was in a clown bus on the way to a three ringer circus that was a grueling four hours away.

A holy man in Jaipur, India

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Operation “Salt City" resulted in the arrest of 248 individuals from May through September 2015. Of those arrested, 124 were active gang members. During the operation 22 firearms, more than $237,000 in U.S. currency, 70 grams of heroin, 266 grams of cocaine, and 723 grams of marijuana with a total estimated street value of almost $44,000 was taken off Syracuse streets by participating agencies.

Operation Salt City is part of the U.S. Marshals nation-wide “Triple Beam” gang reduction initiative. Triple Beam partners federal, state, and local law enforcement to reduce violent crime and take dangerous offenders off the streets. The goal of the U.S. Marshals Gang Enforcement Program is to seek out and disrupt illegal gang activity in areas of the country with smaller or nonexistent gang enforcement units by providing manpower, funding and the Marshals’ renowned fugitive tracking abilities.

Photo by Shane T. McCoy / US Marshals

www.child-adolescent-adult-development.info/playtime-for-...

Playtime for Grown Ups

By Calvin A. Colarusso, M.D.

Clinical Professor of Psychiatry,

University of California at San Diego

(12/07/2011)

Parents always tell kids to go out and play. But did you ever think that an adult, an adult and child psychiatrist no less, would tell YOU, the adult, to go out and play?

Well, Dr. Colarusso is doing just that. In this book he explains both the nature of play and the dynamics which make play such an essential part of human experience throughout the life cycle.

The message is get off that coach, get out of that rocking chair, and go and play. Adults need to play, maybe not as much as children do, but for the same reasons. Play is a way of mastering stress and trauma. It serves the same purpose for children and adults. The stresses of adulthood are in their own way more daunting than those of childhood. And we all have a need to master the traumatic overstimulation that characterizes our busy lives, to say nothing of the internal pressures that continually force us to deal with issues, relationships and experiences from the past and present.

Go and hit that great golf shot, watch an action movie, or see a good romance film and relive a youthful love affair. Join the Monday night football crowd. Reread Portnoy's Complaint. Take in your son's, daughter's or grandchild's soccer game. Buy some new sexual toys. They're all examples of how adults can and should play. Whatever you do, remember that play should be fun. But it's also a marvelous way to master the stresses of life. Just do it!

Playtime for Adults gives a clear understanding of the various forms of play available to adults and the reasons why play is important to mental and physical health, throughout adulthood.

This book includes:

An understanding of what motivates play

The role of thought and action in play

The different levels of play in childhood and adulthood

The relationships between creativity and play

The organizers of play in adulthood.

Sexual play

Understanding the nature of play and doing more of it will lead to a happier life.

ABOUT THE AUTHOR: Calvin A. Colarusso, M.D. is a board-certified Clinical Professor of Psychiatry at the University of California at San Diego, where he served for two decades as Director of the Child Psychiatry Residency Training Program.

He is also a Training and Supervising Analyst in child and adult psychoanalysis at the San Diego Psychoanalytic Institute and an internationally known lecturer to students, professionals, and the general public on many aspects of normal and pathologic development.

His books have been published in English, Korean, and Spanish. See amzn.to/calcolarusso.

Amazon Review

5.0 out of 5 stars hepful and practical, great info!, December 11, 2011

By Angela Johnson - See all my reviewsThis review is from: Playtime for Grown Ups (Kindle Edition)

"As a mother a of three active children, this was a book that I desperately needed to read. My life has been about them and only them since my oldest was born and although I don't regret anything for even a second, I have neglected myself for quite some time. This has led to me and the hubby not really connecting and enjoying each other like we had in the past. Of course if you ask him he won't admit it, but "play-time" for us has been nonexistent in our lives."

"The advice in this book has been wonderful and just by reading it, I've already started to feel better and more care-free. The author has a very friendly and uplifting style of writing, and his insights and ideas on adding creativity and play-time into the adults life are both practical and realistic. His intelligent thoughts on sexual play were probably my favorite part of the book, great ideas for keeping Mom emotionally and physically balanced ; )"

"Great book, I can't begin to recommend it enough. My husband has already agreed to read it too, I got him very interested with some of the ideas I told him about."

The city of Klamme, also entirely hand-drawn. The city is situated in an unlikely geographic setting: One part on a cliff, uptown, and a part on the cliff's base where the river flows. 2010.

Created with Leonardo AI

16:9 image of a silent alien plateau where massive flower-like structures grow directly out of empty space rather than ground. Each bloom anchors to nothing, connected by faint spatial distortions. Foreground blooms show petal-like geometry made of matte-black material edged with faint gold light. Midground structures overlap at impossible angles. Background dissolves into pure void with no stars. Lighting is minimal, coming only from the bloom edges, sculpting form through absence. Atmosphere is nonexistent. Mood: sacred emptiness.

[Please Note : There are 5 images in this set so if seeing this in some group please go to my Flickr page to see the other 4 images, thanks.]

Pic and Prompt by Adrian

The work of slaves in the fields of the huge Manaca-Iznaga sugar plantation was surveilled from this famous 44 m. high watchtower, and a bell that hung at the top would summon them. Built in the 1830s, it's now a symbol of class and racial oppression, and the gift shop in the estate house beside it (this taken from the patio) sells wooden figurines of slaves with a machete in one hand, shirtless & shoeless, ball and chain tied to one ankle, looking up wide-eyed (at the tower) with fearful or woeful expressions on their faces.

- "On the vast sugar estates, the kind of personal relationships /b/ master and slaves found in the towns, cities, and the more intimate tobacco and coffee plantations were nonexistent. Where before, in the 17th and 18th cent.s, slaves had lived in collections of small huts and had been allowed to work their own small plots, now they were crowded into barrack bldg.s and all available land was turned over to sugar cane. Floggings, beatings, and the use of stocks were common as punishment for minor insubordinations and as incentive to work harder. In the harvest season slaves could be made to work for 18 hr.s of every day for months at a time." (Rough Guide)

- This tower also represented the power of the estate owner Alejo (or Pedro) Iznaga (who made a great fortune in the slave trade) both over his slaves and within the sugar producing industry; at one time the tower was the tallest structure in Cuba. (Wikipedia) Founded in 1750, the estate was purchased by Iznaga in 1795.

- A mansion in the town of Trinidad, now a museum, was owned by "a German planter named Kanter or Cantero. Reputedly Dr. Justo Cantero acquired vast sugar estates by poisoning an old slave trader, Pedro Iznaga, and marrying his widow (who also suffered an untimely death)." (LP) What goes around comes around.

For the end result, see www.flickr.com/photos/31322479@N04/17492077660/in/datepos...

Thumb Sucking is a behavior found in humans, chimpanzees, and other primates.[1] It usually involves placing the thumb into the mouth and rhythmically repeating sucking contact for a prolonged duration. It can also be accomplished with any piece of skin within reach (such as the big toe) and is considered to be soothing and therapeutic for the person.

At birth, babies will reflexively suck any object placed in its mouth; this is the sucking reflex responsible for breastfeeding. This reflex disappears at about four months of age; thumb sucking is not purely an instinctive behavior and therefore can last much longer. Moreover, ultrasound scans have revealed that thumb sucking can start before birth, as early as 15 weeks from conception; whether this behavior is voluntary or due to random movements of the fetus in the womb is not conclusively known.

Children suck on objects (including pacifiers) to soothe themselves; sucking is one of a baby’s natural reflexes and completely typical for babies and young children.[2] As a child develops the habit, they will usually develop a "favorite" finger to suck on, in much the same way they develop a favorite hand to write with. It is not known if the preference for a hand to suck on affects handedness in any way, or vice versa.

Thumb sucking can start as early as 15 weeks of growth in the uterus or within months of being born. Prior to 12 weeks, the fetus has webbed digits. Most thumb-suckers stop gradually by the time they are five years old. Nevertheless, many older children will retain the habit, some into adulthood. Thumb sucking in adults may be due to stereotypic movement disorder another psychiatric disorder, or simply habit continuation where the adult thumbsucker can avoid the social implications by indulging stealthfully or by ignoring any outside reaction. For many who have continued to adulthood occlusal affects were either minimal or nonexistent.

wikipedia.org

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www.child-adolescent-adult-development.info/playtime-for-...

Playtime for Grown Ups

By Calvin A. Colarusso, M.D.

Clinical Professor of Psychiatry,

University of California at San Diego

(12/07/2011)

Parents always tell kids to go out and play. But did you ever think that an adult, an adult and child psychiatrist no less, would tell YOU, the adult, to go out and play?

Well, Dr. Colarusso is doing just that. In this book he explains both the nature of play and the dynamics which make play such an essential part of human experience throughout the life cycle.

The message is get off that coach, get out of that rocking chair, and go and play. Adults need to play, maybe not as much as children do, but for the same reasons. Play is a way of mastering stress and trauma. It serves the same purpose for children and adults. The stresses of adulthood are in their own way more daunting than those of childhood. And we all have a need to master the traumatic overstimulation that characterizes our busy lives, to say nothing of the internal pressures that continually force us to deal with issues, relationships and experiences from the past and present.

Go and hit that great golf shot, watch an action movie, or see a good romance film and relive a youthful love affair. Join the Monday night football crowd. Reread Portnoy's Complaint. Take in your son's, daughter's or grandchild's soccer game. Buy some new sexual toys. They're all examples of how adults can and should play. Whatever you do, remember that play should be fun. But it's also a marvelous way to master the stresses of life. Just do it!

Playtime for Adults gives a clear understanding of the various forms of play available to adults and the reasons why play is important to mental and physical health, throughout adulthood.

This book includes:

An understanding of what motivates play

The role of thought and action in play

The different levels of play in childhood and adulthood

The relationships between creativity and play

The organizers of play in adulthood.

Sexual play

Understanding the nature of play and doing more of it will lead to a happier life.

ABOUT THE AUTHOR: Calvin A. Colarusso, M.D. is a board-certified Clinical Professor of Psychiatry at the University of California at San Diego, where he served for two decades as Director of the Child Psychiatry Residency Training Program.

He is also a Training and Supervising Analyst in child and adult psychoanalysis at the San Diego Psychoanalytic Institute and an internationally known lecturer to students, professionals, and the general public on many aspects of normal and pathologic development.

His books have been published in English, Korean, and Spanish. See amzn.to/calcolarusso.

Amazon Review

5.0 out of 5 stars hepful and practical, great info!, December 11, 2011

By Angela Johnson - See all my reviewsThis review is from: Playtime for Grown Ups (Kindle Edition)

"As a mother a of three active children, this was a book that I desperately needed to read. My life has been about them and only them since my oldest was born and although I don't regret anything for even a second, I have neglected myself for quite some time. This has led to me and the hubby not really connecting and enjoying each other like we had in the past. Of course if you ask him he won't admit it, but "play-time" for us has been nonexistent in our lives."

"The advice in this book has been wonderful and just by reading it, I've already started to feel better and more care-free. The author has a very friendly and uplifting style of writing, and his insights and ideas on adding creativity and play-time into the adults life are both practical and realistic. His intelligent thoughts on sexual play were probably my favorite part of the book, great ideas for keeping Mom emotionally and physically balanced ; )"

"Great book, I can't begin to recommend it enough. My husband has already agreed to read it too, I got him very interested with some of the ideas I told him about."

The Bangor and Aroostook boxcar brightens the scene on this gloomy day as this short Long Island Rail Road local makes its way railroad west on the LIRR Oyster Bay Branch between the Glen Street and Sea Cliff Avenue stations in Glen Cove, New York. I'm including this in my Burbank Branch set because maybe that SP boxcar visited Gemco sometime in its life. Maybe. Freight activity was relatively rare on this line when this photo was taken in the 1970s; in 2008, it's completely nonexistent, as far as I know.

Facebook posting of an earlier view of this stretch of track: [www.facebook.com/photo.php?fbid=2299316360134448&set=...]

Leaving Chicagland, as the locals referred to it, was a relatively simple undertaking in daylight, but in the dark hours it got a little challenging, especially if you wanted to avoid tolls on freeways. The first part of the trip was, south on I-94, was going smoothly, even if the scenery was drab or nonexistent where the roadway was in a sort of concrete-walled ditch. If our cash resreves had been more substantial, the logical way to go would have been to take the Chicago Skyway, which was the shortest, quickest route to Michigan City, but we were still thinking about stopping to eat and possibly needed another fuel stop, thus were loathe to toss our meager funds into little metal baskets at toll booths every few miles. So we passed on the Skyway exit and kept heading south, planning to take US- 12, the old road east, starting in Gary, Indiana, home to U.S. Steel and the largest steel plant in the universe. Gary was a blue collar, hard-edge town where racial tension was always just below the surface. "I don't remember there being any riots here," said Ashley when i mentioned this. "Makes sense," i said, "wer'e used to

thinking of the 1968 riots in Detroit, but the Chicago South Side/ Gary Race Riot was in 1919. "Glad I missed it," said Ashley. "Me too. The story behind it was that many working class jobs were filled by Eurpean immigrants, especially the Irish. During World War One. when many local men left their jobs for military service in Europe, poor black people from the South went north to fill those jobs. After the working class white laborers returned they blamed both the steelworks and the black community and rioted, burning the homes of black families and attacking innocent members of that community. In all, about a thousand families were left homeless and 40 people died." "That's quite a story," Ash remarked, "let's skip Gary."

www.child-adolescent-adult-development.info/playtime-for-...

Playtime for Grown Ups

By Calvin A. Colarusso, M.D.

Clinical Professor of Psychiatry,

University of California at San Diego

(12/07/2011)

Parents always tell kids to go out and play. But did you ever think that an adult, an adult and child psychiatrist no less, would tell YOU, the adult, to go out and play?

Well, Dr. Colarusso is doing just that. In this book he explains both the nature of play and the dynamics which make play such an essential part of human experience throughout the life cycle.

The message is get off that coach, get out of that rocking chair, and go and play. Adults need to play, maybe not as much as children do, but for the same reasons. Play is a way of mastering stress and trauma. It serves the same purpose for children and adults. The stresses of adulthood are in their own way more daunting than those of childhood. And we all have a need to master the traumatic overstimulation that characterizes our busy lives, to say nothing of the internal pressures that continually force us to deal with issues, relationships and experiences from the past and present.

Go and hit that great golf shot, watch an action movie, or see a good romance film and relive a youthful love affair. Join the Monday night football crowd. Reread Portnoy's Complaint. Take in your son's, daughter's or grandchild's soccer game. Buy some new sexual toys. They're all examples of how adults can and should play. Whatever you do, remember that play should be fun. But it's also a marvelous way to master the stresses of life. Just do it!

Playtime for Adults gives a clear understanding of the various forms of play available to adults and the reasons why play is important to mental and physical health, throughout adulthood.

This book includes:

An understanding of what motivates play

The role of thought and action in play

The different levels of play in childhood and adulthood

The relationships between creativity and play

The organizers of play in adulthood.

Sexual play

Understanding the nature of play and doing more of it will lead to a happier life.

ABOUT THE AUTHOR: Calvin A. Colarusso, M.D. is a board-certified Clinical Professor of Psychiatry at the University of California at San Diego, where he served for two decades as Director of the Child Psychiatry Residency Training Program.

He is also a Training and Supervising Analyst in child and adult psychoanalysis at the San Diego Psychoanalytic Institute and an internationally known lecturer to students, professionals, and the general public on many aspects of normal and pathologic development.

His books have been published in English, Korean, and Spanish. See amzn.to/calcolarusso.

Amazon Review

5.0 out of 5 stars hepful and practical, great info!, December 11, 2011

By Angela Johnson - See all my reviewsThis review is from: Playtime for Grown Ups (Kindle Edition)

"As a mother a of three active children, this was a book that I desperately needed to read. My life has been about them and only them since my oldest was born and although I don't regret anything for even a second, I have neglected myself for quite some time. This has led to me and the hubby not really connecting and enjoying each other like we had in the past. Of course if you ask him he won't admit it, but "play-time" for us has been nonexistent in our lives."

"The advice in this book has been wonderful and just by reading it, I've already started to feel better and more care-free. The author has a very friendly and uplifting style of writing, and his insights and ideas on adding creativity and play-time into the adults life are both practical and realistic. His intelligent thoughts on sexual play were probably my favorite part of the book, great ideas for keeping Mom emotionally and physically balanced ; )"

"Great book, I can't begin to recommend it enough. My husband has already agreed to read it too, I got him very interested with some of the ideas I told him about."

Grainger Market is a Grade I listed covered market, constructed as part of the 19th-century urban renewal replacing markets on the site of Grey Street. Designed by John Dobson, it opened in 1835. The market has two sections: The Eastern, which was a meat market laid out in a series of aisles; and the Western, which was a vegetable market with a large open hall. The vegetable market's roof was in ill-repair by 1898, and the current roof was installed in 1901. While the principal uses of the market have since changed, it still houses a number of butchers' stalls.

The market is home to a small branch of Marks & Spencer, a market stall known as Marks and Spencer's Original Penny Bazaar

Art is a diverse range of human activity and its resulting product that involves creative or imaginative talent generally expressive of technical proficiency, beauty, emotional power, or conceptual ideas.

There is no generally agreed definition of what constitutes art, and its interpretation has varied greatly throughout history and across cultures. In the Western tradition, the three classical branches of visual art are painting, sculpture, and architecture. Theatre, dance, and other performing arts, as well as literature, music, film and other media such as interactive media, are included in a broader definition of the arts. Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts.

The nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics. The resulting artworks are studied in the professional fields of art criticism and the history of art.

In the perspective of the history of art, artistic works have existed for almost as long as humankind: from early prehistoric art to contemporary art; however, some theorists think that the typical concept of "artistic works" does not fit well outside modern Western societies. One early sense of the definition of art is closely related to the older Latin meaning, which roughly translates to "skill" or "craft", as associated with words such as "artisan". English words derived from this meaning include artifact, artificial, artifice, medical arts, and military arts. However, there are many other colloquial uses of the word, all with some relation to its etymology.

Over time, philosophers like Plato, Aristotle, Socrates and Immanuel Kant, among others, questioned the meaning of art. Several dialogues in Plato tackle questions about art: Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness (drunkenness, eroticism, and dreaming) in the Phaedrus (265a–c), and yet in the Republic wants to outlaw Homer's great poetic art, and laughter as well. In Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. The dialogue Ion suggests that Homer's Iliad functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted.

With regards to the literary art and the musical arts, Aristotle considered epic poetry, tragedy, comedy, Dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium, object, and manner. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, and through drama or no drama. Aristotle believed that imitation is natural to mankind and constitutes one of mankind's advantages over animals.

The more recent and specific sense of the word art as an abbreviation for creative art or fine art emerged in the early 17th century. Fine art refers to a skill used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of more refined or finer works of art.

Within this latter sense, the word art may refer to several things: (i) a study of a creative skill, (ii) a process of using the creative skill, (iii) a product of the creative skill, or (iv) the audience's experience with the creative skill. The creative arts (art as discipline) are a collection of disciplines which produce artworks (art as objects) that are compelled by a personal drive (art as activity) and convey a message, mood, or symbolism for the perceiver to interpret (art as experience). Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. Works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. For some scholars, such as Kant, the sciences and the arts could be distinguished by taking science as representing the domain of knowledge and the arts as representing the domain of the freedom of artistic expression.

Often, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are sometimes considered applied art. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference. However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art; to create a sense of beauty (see aesthetics); to explore the nature of perception; for pleasure; or to generate strong emotions. The purpose may also be seemingly nonexistent.

The nature of art has been described by philosopher Richard Wollheim as "one of the most elusive of the traditional problems of human culture". Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Art as mimesis has deep roots in the philosophy of Aristotle. Leo Tolstoy identified art as a use of indirect means to communicate from one person to another. Benedetto Croce and R. G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator. The theory of art as form has its roots in the philosophy of Kant, and was developed in the early 20th century by Roger Fry and Clive Bell. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation. George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or persons acting on behalf of the social institution commonly referred to as "the art world" has conferred "the status of candidate for appreciation". Larry Shiner has described fine art as "not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old."

Art may be characterized in terms of mimesis (its representation of reality), narrative (storytelling), expression, communication of emotion, or other qualities. During the Romantic period, art came to be seen as "a special faculty of the human mind to be classified with religion and science".

A shell engraved by Homo erectus was determined to be between 430,000 and 540,000 years old. A set of eight 130,000 years old white-tailed eagle talons bear cut marks and abrasion that indicate manipulation by neanderthals, possibly for using it as jewelry. A series of tiny, drilled snail shells about 75,000 years old—were discovered in a South African cave. Containers that may have been used to hold paints have been found dating as far back as 100,000 years.

The oldest piece of art found in Europe is the Riesenhirschknochen der Einhornhöhle, dating back 51,000 years and made by Neanderthals.

Sculptures, cave paintings, rock paintings and petroglyphs from the Upper Paleolithic dating to roughly 40,000 years ago have been found, but the precise meaning of such art is often disputed because so little is known about the cultures that produced them.

The first undisputed sculptures and similar art pieces, like the Venus of Hohle Fels, are the numerous objects found at the Caves and Ice Age Art in the Swabian Jura UNESCO World Heritage Site, where the oldest non-stationary works of human art yet discovered were found, in the form of carved animal and humanoid figurines, in addition to the oldest musical instruments unearthed so far, with the artifacts dating between 43,000 and 35,000 BC, so being the first centre of human art.

Cave paintings, Lascaux, France, c. 17,000 BCE

Many great traditions in art have a foundation in the art of one of the great ancient civilizations: Ancient Egypt, Mesopotamia, Persia, India, China, Ancient Greece, Rome, as well as Inca, Maya, and Olmec. Each of these centers of early civilization developed a unique and characteristic style in its art. Because of the size and duration of these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. Some also have provided the first records of how artists worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions.

In Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression of subjects about biblical and religious culture, and used styles that showed the higher glory of a heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless, a classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art of Catholic Europe.

Renaissance art had a greatly increased emphasis on the realistic depiction of the material world, and the place of humans in it, reflected in the corporeality of the human body, and development of a systematic method of graphical perspective to depict recession in a three-dimensional picture space.

In the east, Islamic art's rejection of iconography led to emphasis on geometric patterns, calligraphy, and architecture. Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted sculptures and dance, while religious painting borrowed many conventions from sculpture and tended to bright contrasting colors with emphasis on outlines. China saw the flourishing of many art forms: jade carving, bronzework, pottery (including the stunning terracotta army of Emperor Qin), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and each one is traditionally named after the ruling dynasty. So, for example, Tang dynasty paintings are monochromatic and sparse, emphasizing idealized landscapes, but Ming dynasty paintings are busy and colorful, and focus on telling stories via setting and composition. Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painting. Woodblock printing became important in Japan after the 17th century.

The western Age of Enlightenment in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blake's portrayal of Newton as a divine geometer, or David's propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th century then saw a host of artistic movements, such as academic art, Symbolism, impressionism and fauvism among others.

The history of 20th-century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of Impressionism, Expressionism, Fauvism, Cubism, Dadaism, Surrealism, etc. cannot be maintained very much beyond the time of their invention. Increasing global interaction during this time saw an equivalent influence of other cultures into Western art. Thus, Japanese woodblock prints (themselves influenced by Western Renaissance draftsmanship) had an immense influence on impressionism and subsequent development. Later, African sculptures were taken up by Picasso and to some extent by Matisse. Similarly, in the 19th and 20th centuries the West has had huge impacts on Eastern art with originally western ideas like Communism and Post-Modernism exerting a powerful influence.

Modernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Theodor W. Adorno said in 1970, "It is now taken for granted that nothing which concerns art can be taken for granted any more: neither art itself, nor art in relationship to the whole, nor even the right of art to exist." Relativism was accepted as an unavoidable truth, which led to the period of contemporary art and postmodern criticism, where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with skepticism and irony. Furthermore, the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than of regional ones.

In The Origin of the Work of Art, Martin Heidegger, a German philosopher and seminal thinker, describes the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which "that which is" can be revealed. Works of art are not merely representations of the way things are, but actually produce a community's shared understanding. Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed.

Historically, art and artistic skills and ideas have often been spread through trade. An example of this is the Silk Road, where Hellenistic, Iranian, Indian and Chinese influences could mix. Greco Buddhist art is one of the most vivid examples of this interaction. The meeting of different cultures and worldviews also influenced artistic creation. An example of this is the multicultural port metropolis of Trieste at the beginning of the 20th century, where James Joyce met writers from Central Europe and the artistic development of New York City as a cultural melting pot.

Wat Ong Teu Mahawihan (Temple of the Heavy Buddha) is one of many Buddhist Monasteries that are present in the city of Vientiane in Laos. This name is given to the temple due to the large, bronze Phra Ong Teu Buddha image that is present within the temple: the largest Buddha in Vientiane. This temple was initially constructed by King Settathirat I in the 16th century (known as the golden age of Buddhism in Laos) when Laos was being bombarded by the Burmese, but was later demolished during a foreign invasion. Thus, it may have gone through many reconstructions during the 19th or 20th century to attain the appearance it has today.

Though this temple is created in Vientiane, it has the basic shape for what is known as the ‘Luang Prabang I style’ with its scare use of brickwork and rectangular-like body.

Wat Ong Teu is said to have been placed along a cardinal point in accordance with three other temples, but that may just be coincidental.

ORIGIN

After commanding for the relocation of the capital of Laos from the city of Luang Prabang to Vientiane, King Setthathirat I produced many monasteries such as Wat That Luang and Wat Phra Kaew. The reason this particular wat (Lao for temple) was built was because Setthathirat I desired to create the Phra Ong Teu image that would be placed within it, and to have it as his person living quarters. There would be six other sculptures of this image present in other monasteries, but Wat Ong Teu Mahawihan contains the first of them. Since this time period is known as the golden age, the wat would evolve into a complex with a sim (ordination hall), a ho rackhang (bell tower), a ho kong (drum tower), a that (stupa), and a kuti (monks’ living quarters). Each of these parts of the complex all share the similar artistic motif of the architecture of the central wat, which is discussed later.

The original use of this wat was for ceremonies of allegiance to the king. However, in the 17th century, Souligna Vongsa as king transformed this temple into a Buddhist learning center in order to ‘teach, enlighten and inspire worshippers.’ In other words, it has become a school for monks coming from around Southeast Asia to study the dhamma. This becomes apparent because surrounding countries of Laos sent their monks to Vientiane to study this religion. Such a function is more understandable of Wat Ong Teu since there are many details that give the suggestion of a learning center.

RECONSTRUCTION

When Siam sacked Laos in 1827-28 as a punishment for almost all of the monasteries in Laos, including Wat Ong Teu, were destroyed. This was only made worse afterwards when the Ho bandits tried sack Vientiane again to take gold from Wat Ong Teu and others. In 1900, following the establishment of the Franco-Siamese treaty in 1843, the French chose Vientiane as their capital and started the reconstruction of its monasteries including Wat Ong Teu. As an addition, the French may have also created a school, in the same format and appearance as the rest of the complex to further exemplify the function of Wat Ong Teu as a place of study. The Lao Buddhist Institute was made in 1929 and still functions today as a school for the Theravada Buddhist religion.

ARCHITECTURE

In retrospect, the influence on the style of the original temple can be traced predominantly to India, though not directly. Indochina was part of the sphere of influence of India, known by George Coedès as the ‘Indianization of Southeast Asia.’ The religion and customs of Indian civilization came ‘thoroughly yet peacefully’ to the people of this region, especially due to marriage between Indian men and local women. Laos however, was a nonexistent country during this time. The kingdom of Lan Xang (‘Land of a million elephants’) wasn’t established until the mid-13th century of the common era just years after all direct contact with India was completely diminished. Instead, the original Wat Ong Teu took its traits from other mixed ideas of architecture from surrounding countries that were established earlier than the 13th century. In essence, the variant notions of these Southeastern Asian countries on the Theravada Buddhist architecture of India, such as Cambodia and Siam (present day Thailand), influenced the ideas of how Wat Ong Teu would be depicted. However, even though Laos borrowed traditions from these other cultures, the 16th century turned a new leaf for the Lao people in the form of a golden age. Thus, Wat Ong Teu has most of its own Lao Buddhist features and only minor details of surrounding influences.

After the temple’s destruction, some of the techniques used to create it were lost, but much of it wasn’t forgotten. Instead, modern techniques were blended in with the old during the temple’s reconstruction, especially in what was used to fortify the walls and roof. The result became a rich new style that is exclusive to Lao architecture. This primarily is because the modern reconstruction completed by the French kept sincere adherence to these Lao notions already established on temple aesthetics, with some artistic liberties since Laos at this time was only a protectorate of France.

ENTRY GATE

This multi-tiered archway serves as the entrance into the complex where the temple is located. It is miniature compared to that of Pha That Luang. The functionality of this seemingly simple archway is similar to that of the torana, or gateway, of Indian culture. The torana served as the passageway from secular ground to sacred ground. The only difference is that this archway does not have any images for which a person can meditate and it doesn’t involve circumambulating a stupa. This characteristic may be present in all the temples and stupas that exist in Laos, especially at King Setthathirat’s more famous architectural creation, Pha That Luang.

MAIN ENTRANCE

The entrance to Wat Ong Teu is known to have a good amount of eccentricities that are indigenous only to Laos and no other Buddhist temple in Asia. Just before going up the stairs at the front of the temple, one can find the frieze that is exceedingly baroque in detail, highlighting this Lao style. The green backdrop shimmers as many carved and gilded vine leaves curve in no apparent order or pattern. This motif is repeated throughout the whole front part of the temple, even surrounding the six small Buddhas that are just below the frieze. This foliage may be an allusion to the lotus flower which is an aniconic symbol of the Buddha. Another Lao characteristic of monasteries is the pointed double archway that flanks the six Buddhas. There are many variations of this characteristic, but the archway of Wat Ong Teu is the most simplistic aesthetically.

One of the most native features to Laos is the Naga, or mythical water serpent, that serves as the guardian of the entrance. The Naga was widely known in Southeast Asia before Buddhism arrived. They would symbolize the Hindu god Shiva in which they represented destruction and renewal. How they relate to the Buddha lies in the story of Siddhartha under the Bodhi tree.

This could also be the second area for which one would pass from less secular ground to completely sacred ground. Though Nagas are usually seen with multiple heads, Wat Ong Teu’s version of the Naga has a single head with a its bright green body stretched out. There are three sets of these Nagas that all give access to the same patio-type area in front the temple. This aspect is interesting because there is only one door that gives an entrance into the temple. It may be a reference to the original function of this wat as the king’s temple, with the front stairs only being walk on by the king while the others were reserved for normal patrons. The posts perpendicular to these Naga resemble the sort of pagoda or tower one would see in Laos.

The doors and windows are made of wood and are also decorated with many leaves and stems that spiral sporadically. These images are all carved, painted red and gilded to make the door and windows look as if they were made of metal. Each of the windows and the door have different images of the Buddha either directly or by aniconic representation. Some of them may evidently portray a Jataka, or story given of one of the Buddha’s past incarnations.

ROOF

Seemingly the most intricate part of the exterior of Wat Ong Teu is its roof. It illustrates a myriad of different styles from around Asia that blend in an extraordinarily harmonious way.

A commonly used feature in Asia for the roof is the utilization of a curved roof. This non-linear approach was originated by the Chinese. In China, architects thought that evil spirits despised curved lines, therefore giving an apotropaic effect to the temple. Lao ideas of the curved roof should have been similar to China’s as well. This aspect is especially important when the principal function of this temple is to teach the Buddhist religion. Students learning the Buddhist religion should especially be protected from the evils of the outside world.

What is particularly interesting is the feature of multiple roofs that descend past the boundaries of the wall at a slope. This aspect is exclusive to Laos. Specifically, there are three or four superimposed roofs, with the two bottom roofs being supported by columns from within the temple. It is unknown as to the reason for this intricate design, but it may be another aspect of protection because multiple roofs could cause confusion among evil spirits.

The stone spire decoration with stacked superimposed, decreasingly sized disks in the center of the keel is definitively a Buddhist element. It is known that before the Buddha went through enlightenment, he was always covered by parasols to indicate his royalty as a prince. Therefore, it is not unusual to see a parasol-like spire atop this temple. The other flame-like decorations, called chaw faa (sky clusters), lining the edges and vertices of the roof are frequently used in Laos. This may also be another quality that emphasizes the apotropaic effect of the roof.

The exterior may have a lot detail that is used for protection and attraction, but the interior does not mirror the same intricacy. Within the temple, the floors are glossed and the walls and ceiling are painted with the same colors as the exterior. There is a red mat that is lined perfectly from the middle to the back of the sim where the Phra Ong Teu image resides. The most intricate objects within the temple are the columns that hold up the roof. They may have been made to look like oversized lotus flowers that have grown from the ground to support the roof of the temple. This may illustrate the natural world for which the Buddha himself would have liked to teach his followers.

MODERN TECHNIQUES

Once Laos became a French protectorate and reconstruction began, there may have been many liberties made to some of the minute details of the temple, but most of the essential attributes of the temple remain similar to the original construction. A very important change is in the stone and well-kept wood that fortifies the structure of the temple. The brackets are included in this use of preserved timber. Not only are there brackets on the outside, but in the inside as well. However, the columns are the objects that provide the most support for the 3 or 4 tiered roofs, so they are treated with more care than the brackets. Therefore, in essence, the modern approach is more of a post and lintel technique rather than the use of brackets. The lack of non-perishable material before French rule over Laos is indicative of their weak government.

Some details that are usually seen in developed countries in Europe and North America include small, hanging chandeliers as well as fans placed on each column that lines the sim. These simple touches do seem to emit a sort of waning of sacredness for which the temple was originally created, but it may not be complete departure from belief.

Most of the modern techniques may have been meant for the surrounding complex rather than the monastery itself, but the central theme of all these buildings and towers remain faithful to that of Wat Ong Teu.

ART

´HEAVY BUDDHA`

ACCOMPANIED BY TWO STANDING BUDDHAS

These original sculptures reside within the sim of the temple towards the furthest wall from the entrance. The Phra Ong Teu is made of a mix of metals, predominately bronze, and is seated atop a golden pedestal that was cast separate from the Buddha. The head may have been cast separately as well from the body and put together by the ‘tonged and grooved joint techniques’ showing the skill of Lao craftsmanship. The two standing Buddhas are connected to their own respective platforms. These sculptures are raised on top of a platform with a color scheme similar to the rest of the temple. More recently, these sculptures are draped in linen or silk cloth, depicting the saffron clothing monks usually wear in Laos, with neon-colored halos place on the wall behind them. This may just add an artistic effect to the Buddhas so that a more prestigious role could be emphasized of them. However, Lao artists of this time never thought of these or other Buddha images as art, only as a means to ‘educate and enlighten.’ Therefore, later use of this temple as a place for further learning of the Hinayana Buddhist religion would be the exact purpose for which the artists intended.

It is usual to see the Enlightened One alone or accompanied by bodhisattvas in a triad, but here all three of these sculptures depict the Phra Ong Teu Buddha. A strong indication that these sculptures are Buddhas is the parasols that are suspended over them. Each of the smaller Buddhas have a parasol above them that is attached to a post protruding out from behind them, but the main Buddha has a distinctively rectangular parasol that is fastened to the ceiling. These parasols act in the same way as the parasol located on the keel of the wat, but the parasols that hang over the Buddhas are more decorative. What is interesting is that the rectangular parasol hanging over the Phra Ong Teu is more of a Japanese trait than anything Laos. The only record of any Japanese interaction with Laos would be during a five-year period in WWII. The only action caused by them was the nationalistic passion that the Lao people had in opposition to them. Not enough time was put into having any influence on their art of this Buddha or the temple that it is in.

There are many other features of Phra Ong Teu Buddha that are common in relation to the codified Buddha, but it still has its Lao differences. The earliest image of the Buddha in Laos was influenced by the ‘Pha Bang Khmer style,’ but started to become more distinctive in the 16th century along with the golden age. For example, the tightly curled hair that is displayed on the main Buddha is strongly reminiscent of the Gandhara Style of India during the Gupta period, which is mirrored by the Pha Bang. However, the pointed swelling coming out of the top of the image’s head, signifying ‘transcendent knowledge,’ expresses an exclusively Lao idea. This type of swell may even be a facet solely of the Phra Ong Teu image that King Setthathirat created. Some other modified aspects of the image are the sharp ear rims with long lobes, the equal, extended length of the fingers and toes, and the sharp wide nose.

There are a few different mudras, or hand gestures, that these Buddhas portray. These gestures illustrate the Indian influence that is present in Laos. Both of the smaller standing Buddhas have their hands up with palms facing outward, meaning fearlessness. Their mudra differs from the main Phra Ong Teu Buddha. He instead adopts two different mudras that allude to the moments just before Siddhartha’s Enlightenment. Specifically, the left hand is placed in the lap with the palm facing up towards the face which represents the idea of meditation. The greater gesture that captures the Enlightenment within this image comes from his right hand. His hand is rested over his knee with fingers extended toward the earth. This symbolizes the calling of the Earth to protect the Buddha from Mara, India’s interpretation of the devil. This can then be connected to the Naga that was conjured up to help Siddhartha in his path for Enlightenment. In creating this image, King Setthathirat I proved his adherence to the Theravada Buddhism that has always been present in Laos since Lan Xang.

CONCLUSION

Of the many temples that are present in Vientiane, Laos today, Wat Ong Teu Mahawihan is one of the more undervalued temples. Every detail that makes up this composition of this monastery has some sort of allusion to the teachings or image of the Buddha. From the Nagas guarding the entrance of the temple to the fastidiously heavy Buddha at the back of the sim within the temple, from the carved windows and doors to the lotus columns supporting the roof, Wat Ong Teu is a complete illustration of the story of Siddhartha meditating under the Bodhi tree. No area of the temple is left untouched which results in a sense of sacred ground.

Though it may not be an international symbol, Wat Ong Teu is more widely known as an educational institute that provides widespread teaching of the Theravada Buddhism that originated in India. That belief hasn’t meandered to this day. As a center for learning, Wat Ong Teu still continues to house the teachings of the beginning of Buddhism straight from the Buddha, though the two parties live centuries apart. With respect to Laos, education of this religion is what allowed France to be interesting in them even though France’s main focus was Vietnam. From to the French came Lao nationalism in opposition to the Japanese. All of this sparked from monasteries in Laos, Wat Ong Teu included.

WIKIPEDIA

Though personalized art appeared during World War I, and occasionally grew to incorporate the entire aircraft, most pilots carried a saying or a slogan, or a family crest, or squadron symbol. Some were named, but nose art was not common. During World War II, nose art not only saw its true beginnings, but its heyday.

No one knows exactly who started nose art first--it appeared with both the British and the Germans around the first time, with RAF pilots painting Hitler being kicked or skulls and crossbones on their aircraft, while German nose art was usually a personal symbol, named for a girlfriend or adopting a mascot (such as Adolf Galland using Mickey Mouse, something Walt Disney likely didn't approve of). It would be with the Americans, and a lesser extent the Canadians, that nose art truly became common--and started including its most famous forms, which was usually half-naked or completely naked women. This was not always true, but it often was.

The quality of nose art depended on the squadron or wing artist. Some of it was rather crude, while others were equal to the finest pinup artists in the United States, such as Alberto Vargas. For men thousands of miles away from home and lonely, a curvaceous blonde on a B-17 or a P-51 made that loneliness a bit easier. Others thought naked women were a little crude, and just limited themselves to names, or depicted animals, cartoon characters, or patriotic emblems, or caricatures of the Axis dictators they were fighting.

Generally speaking, there was little censorship, with squadron and group commanders rarely intervening on names or pictures; the pilots themselves practiced self-censorship, with profanity almost unknown, and full-frontal nudity nearly nonexistent. After the loss of a B-17 named "Murder Inc.," which the Germans captured and used to make propaganda, the 8th Air Force, at least, set up a nose art committee that reviewed the nose art of aircraft--but even it rarely wielded its veto. For the most part, nose art was limited only by the crew's imagination and the artist's ability. The British tended to stay away from the lurid nudes of the Americans, though the Canadians adopted them as well. (The Axis also did not use nose art in this fashion, and neither did the Soviets, who usually confined themselves to patriotic slogans on their aircraft, such as "For Stalin!" or "In the Spirit of the Motherland!")

When World War II ended, so did nose art, for the most part. In the peacetime, postwar armed forces, the idea of having naked women were wives and children could see it was not something the postwar USAF or Navy wanted, and when it wasn't scrapped, it was painted over. A few units (especially those away from home and family) still allowed it, but it would take Korea to begin a renaissance of nose art.

One of two P-51Ds on display at the War Eagles Air Museum in Santa Teresa, New Mexico, "The Friendly Ghost" is 44-84658, painted in the postwar colors of the 136th Fighter Group (Texas ANG) at Love Field, Texas. As was common for any stateside USAF units, any nose art was very tame compared to wartime overseas aircraft: "The Friendly Ghost" carries a rather family-friendly Casper as its nose art. The use of "Friendly Ghost" rather than Casper was that, when the character first came out in 1945, he was not known as Casper. The "Friendly Ghost" is part of the War Eagles Air Museum in Santa Teresa, New Mexico.

Boxes of berries sit on stand at a market on May 8, 2007. Berries are difficult to grow, harvest, and handle with brief growing seasons and the berries are vulnerable to insects, disease, and even birds. In the 1950's, the U.S. Department of Agriculture’s (USDA) Agricultural Research Service (ARS) actually saved the strawberry industry in the Great Lakes region when the agency released the first varieties that could survive red stele, a root-rotting fungus. Fifteen years ago, blueberries were practically nonexistent in the Gulf States. But USDAS’s ARS early-ripening varieties have extended highbush blueberry culture to the Deep South. Today, over 10,000 acres are grown in Dixie, with more than 4,000 acres thriving throughout Texas, Louisiana, and Alabama. In the Pacific Northwest, where most of America’s red raspberries are grown, Willamette, a 1943 release, still accounts for 40 percent of the red raspberry acreage. USDA ARS scientists introduced the first truly genetic thornless blackberries, Thornfree and Smoothstem, which caused a small roadside revolution. The new varieties were just what some growers needed to establish pick-your-own operations. USDA photo by Scott Bauer.

I haven't been out and about with my camera very much lately so I thought it would be interesting to explain my Flickr absence with an alternative sort of image. I've recently had two wisdom teeth removed in seperate operations on the bottom jaw. The last one got yanked today so now I'm free of them! This is an X-ray of my head which was taken shortly before the first tooth extraction. You don't need to be a dentist to see that the teeth at both ends of the lower jaw shouldn't be impacted at right-angles to the rest of the mouth, so I was eager to get the surgery out of the way.

Anthropologists believe wisdom teeth, the third set of molars, were the evolutionary answer to our ancestor’s early diet of coarse, rough food – like leaves, roots, nuts and meats – which required more chewing power and resulted in excessive wear of the teeth. The modern diet with its softer foods, along with marvels of modern technologies such as forks, spoons and knives, has made the need for wisdom teeth nonexistent. As a result, evolutionary biologists now classify wisdom teeth as vestigial organs, or body parts that have become functionless due to evolution. Indeed, many people are lucky enough to be born with the fortunate genetic mutation of having no wisdom teeth at all - apparently you have a 25% chance of being born with at least one or more of them missing.

Brandon Q Morris "The Dark Origin"

[...] She´s accelerated.This does not correspond to the specification. She has to brake to reach the lower orbit her target is traveling on. DosRios 19/2 increases the performance of her engine. It fires in the opposite direction of movement. She gives a status report. The approach to the target is not going according to plan. DosRios 19/2 is not afraid. Her engine still has reserves. But a rendezvous course like the one she was ordered to take seems increasingly unlikely. The target object is constantly increasing in mass, but it still has too little gravitational pull. She hase to brake, not accelerate. DosRios 19/2 calculates several course variants. Most will become a hyperbole that will throw her out of the solar system. However, the curve always ends in the same place: at the core of its destination. The impact will destroy her. So she has try to prevent it. DosRios 19/2 sends another status message to Earth. Whoever programmed her might still have a chance to intervene. If DosRios 19/2 could understand herself, she would no longer have this hope. There is no power that can stop this flight. But she still does her job. The target is smeared. It looks as if a bird fell into a dog poop while landing and slithered along in it further. This is what Adam Smith will later tell his superior. DosRios 19/2 knows nothing about it. She only sees the measurement data that creates this image in a human consciousness. The matter thrown from its target appears viscous. It sticks like honey to the track that follows its destination. And she exerts powers that DosRios 19/2 doesn't know anything about, because she doesn't have a gravimeter on board. No one thought that you might need a gravimeter to study an interstellar visitor. Because gravitation, the pull of mass, seems hardly able to cause any surprises. DosRios 19/2 has to manage with a radar and various spectrometers. At least the radar shows that her target still exists. It's located right where the other probe is broadcasting from. Perhaps she will meet her at the end of her journey. It would mean death for both of them. DosRios 19/2 is not shocked. It is a simple fact that all existence is finite. Herr speed keeps increasing. Now the first temperature measurements are coming in. But they don't get through the input control. Some programmer has built in plausibility checks. Anything too low or too high is discarded. First, only every tenth value is discarded, then every third, then every second. DosRios 19/2 runs out of values. She decides there is a mistake. She always has that option. A very clever programmer gave her something like a superego that oversees the functioning of all components. It cannot manipulate them. But it can intervene and then forward the data unprocessed. Better the earth gets raw data than no data at all. She's getting faster. The engine doesn't stand a chance now. Her orbit is definitely a hyperbola. There is something in her path that is like her. DosRios 19/2 defines two tasks. First: collect data as long as possible. Second: increase the probability of the further existence of the sending object. DosRios 19/2 doesn't really know why she's making her decisions. Her superego is responsible for this. It has its own efficiency algorithms from the Alpha-Omega autonomous vehicle kit, adapted to robotic probes. DosRios 19/2 sends an emergency call. She doesn't call for help. It's too late for that. But she warns. A short time later she encounters her own reputation. The other object must have caught it and passed it on. DosRios 19/2 doesn't know if that's a good sign or a bad sign. She has no unit of evaluation because she was never meant to deal with humans. But there are leftovers. Some program parts are left over from the Alpha-Omega kit for autonomous vehicles. The responsible programmer did not consider it necessary to remove them. A vehicle on the road must be able to assess the reactions of a human opposite. DosRios 19/2 estimates that the other object will take her warning seriously. She also coded her nonexistent options in it. She can't dodge, so all she can do is hope that the other object dodges. DosRios 19/2 switches the engine to stand-by mode. She will use it at the last moment. Maybe she can still avoid the ricochet on the comet, her goal, and save her life. The superego empties its memory. On the final approach, there should be no additional risk of memory overflow. It sends a farewell signal to its parent probe. It's a simple unsubscribe. DosRios 19 no longer has to reserve resources for it. Then she folds the antenna in to reduce its cross-section. She receives a position report. The message must come from very close by. Only the other object is suitable for this. DosRios 19/2 calculates the position. The object is exactly in her trajectory. Apparently it can't move. DosRios 19/2 calculates three alternatives. Option 1, she does not ignite her engine at all. Both objects have an 80 percent chance of being destroyed. Option 2, she turns on the engine as planned. That gives her a 40 percent chance of surviving and the other object has a 5 percent chance of surviving. Option 3 contains full engine boost and an oxygen tank bleed. This will make her spin. DosRios 19/2 will then hit well above the core, for sure. The other object has an 80 percent chance of surviving. 64 versus 2 versus 80 percent. The efficiency algorithm has an easy game. DosRios 19/2 sends a logout confirmation to the foreign object. The folded antenna is also sufficient over the short distance. It's a gesture. Even a primitive controller should be able to do something with it. Then DosRios 19/2 starts its engine. It burns out within 12 seconds. She vents the oxygen tank. Suddenly she turns. She drifts along the comet's nucleus. Something silver flashes beneath her. Her folded antenna registers a logout confirmation. Then DosRios 19/2 crashes into a black rock. [...]

***

Brandon Q. Morris "Die dunkle Quelle"

[...] Ihre Bewegung beschleunigt sich. Das entspricht nicht der Vorgabe. Sie muss bremsen, um den niedrigeren Orbit zu erreichen, auf dem ihr Ziel unterwegs ist. DosRios 19/2 steigert die Leistung ihres Triebwerks. Es feuert entgegen ihrer Bewegungsrichtung. Sie gibt eine Statusmeldung ab. Die Annäherung an das Ziel läuft nicht plangemäß. DosRios 19/2 hat keine Angst. Ihr Triebwerk besitzt noch Reserven. Aber ein Rendezvous-Kurs, wie er ihr befohlen wurde, wird immer unwahrscheinlicher. Das Zielobjekt nimmt zwar dauernd an Masse zu, es hat aber immer noch zu wenig Anziehungskraft. Sie muss bremsen, nicht beschleunigen. DosRios 19/2 berechnet mehrere Kursvarianten. Aus den meisten wird eine Hyperbel, die sie aus dem Sonnensystem schleudern wird. Allerdings endet die Kurve stets an derselben Stelle: am Kern ihres Ziels. Der Aufprall wird sie zerstören. Also muss sie versuchen, ihn zu verhindern. DosRios 19/2 sendet eine weitere Statusnachricht an die Erde. Wer immer sie programmiert hat, besitzt jetzt vielleicht noch die Chance zum Eingreifen. Könnte DosRios 19/2 sich selbst verstehen, hätte sie diese Hoffnung nicht mehr. Es gibt keine Macht, die diesen Flug aufhalten kann. Aber noch erfüllt sie ihre Aufgabe. Das Ziel ist verschmiert. Es sieht aus, als wäre ein Vogel beim Landen in einen Hundehaufen gestürzt und darin noch ewig weitergeschlittert. So wird später Adam Smith es seinem Vorgesetzten erzählen. DosRios 19/2 ahnt nichts davon. Sie sieht nur die Messdaten, die in einem menschlichen Bewusstsein dieses Bild entstehen lassen. Die Materie, die aus ihrem Ziel geschleudert wird, scheint zähflüssig. Sie bleibt wie Honig an der Bahn kleben, der ihr Ziel folgt. Und sie übt Kräfte aus, von denen DosRios 19/2 nichts ahnt, denn sie hat kein Gravimeter an Bord. Niemand hat daran gedacht, dass man zur Erforschung eines interstellaren Besuchers ein Gravimeter benötigen könnte. Denn die Gravitation, die Anziehungskraft der Masse, scheint kaum in der Lage, irgendwelche Überraschungen zu verursachen. DosRios 19/2 muss sich mit einem Radar und verschiedenen Spektrometern behelfen. Das Radar zeigt immerhin, dass ihr Ziel noch existiert. Es befindet sich genau dort, woher die andere Sonde sendet. Vielleicht trifft sie sie am Ende ihrer Reise. Es würde ihrer beider Tod bedeuten. DosRios 19/2 ist nicht schockiert. Es ist eine simple Tatsache, dass jede Existenz begrenzt ist. Ihre Geschwindigkeit steigt weiter. Jetzt kommen die ersten Temperaturmessungen herein. Aber sie gelangen nicht durch die Eingabe-Kontrolle. Irgendein Programmierer hat Plausibilität-Checks eingebaut. Was zu tief oder zu hoch ist, wird verworfen. Zunächst wird nur jeder zehnte Wert verworfen, dann jeder dritte, dann jeder zweite. DosRios 19/2 gehen die Werte aus. Sie entscheidet, dass ein Fehler vorliegt. Diese Option hat sie immer. Ein sehr schlauer Programmierer hat ihr so etwas wie ein Über-Ich eingesetzt, das die Funktion aller Komponenten überwacht. Es kann diese zwar nicht manipulieren. Aber es kann eingreifen und die Daten dann unverarbeitet weiterleiten. Besser, die Erde erhält Rohdaten als gar keine Daten. Sie wird schneller. Das Triebwerk hat jetzt keine Chance mehr. Ihre Bahn ist auf jeden Fall eine Hyperbel. Auf ihrem Weg liegt etwas, das so ist wie sie. DosRios 19/2 definiert zwei Aufgaben. Erstens: Daten zu sammeln, so lange das möglich ist. Zweitens: die Wahrscheinlichkeit der weiteren Existenz des sendenden Objekts erhöhen. DosRios 19/2 weiß nicht so richtig, warum sie ihre Entschlüsse fasst. Ihr Über-Ich ist dafür zuständig. Es besitzt eigene Effizienz-Algorithmen aus dem Alpha-Omega-Bausatz für autonome Fahrzeuge, angepasst an robotische Sonden. DosRios 19/2 sendet einen Notruf. Sie ruft nicht um Hilfe. Dafür ist es zu spät. Aber sie warnt. Kurze Zeit später begegnet ihr der eigene Ruf. Das andere Objekt muss ihn aufgefangen und weitergeleitet haben. DosRios 19/2 weiß nicht, ob das ein gutes oder ein schlechtes Zeichen ist. Sie besitzt keine Bewertungseinheit, denn sie war nie dazu bestimmt, mit Menschen zu tun zu haben. Aber es gibt Reste. Einige Programmteile sind aus dem Alpha-Omega-Bausatz für autonome Fahrzeuge übrig geblieben. Der zuständige Programmierer hat es nicht für nötig gehalten, sie zu entfernen. Ein Fahrzeug im Straßenverkehr muss in der Lage sein, Reaktionen eines menschlichen Gegenübers einzuschätzen. DosRios 19/2 schätzt ein, dass das andere Objekt ihre Warnung ernst nehmen wird. Sie hat darin auch ihre nicht vorhandenen Optionen kodiert. Sie kann nicht ausweichen, also kann sie nur hoffen, dass das andere Objekt ausweicht. DosRios 19/2 schaltet das Triebwerk in den Stand-by-Modus. Sie wird es im letzten Moment verwenden. Vielleicht kann sie dem Kometen, ihrem Ziel, damit noch ausweichen und so ihr Leben retten. Das Über-Ich leert ihre Speicher. Im Endanflug soll sie kein Speicherüberlauf zusätzlich in Gefahr bringen. Sie sendet ein Abschiedssignal an ihre Muttersonde. Es ist eine simple Abmeldung. DosRios 19 muss erst einmal keine Ressourcen mehr für sie freihalten. Dann klappt sie die Antenne ein, um ihren Querschnitt zu verringern. Sie empfängt eine Positionsmeldung. Die Nachricht muss ganz aus der Nähe kommen. Nur das andere Objekt kommt dafür in Frage. DosRios 19/2 berechnet die Position. Das Objekt liegt genau in ihrer Flugbahn. Offenbar kann es sich nicht bewegen. DosRios 19/2 berechnet drei Alternativen. Auf Bahn 1 zündet sie ihr Triebwerk gar nicht. Beide Objekte werden zu 80 Prozent Wahrscheinlichkeit zerstört. Auf Bahn 2 schaltet sie das Triebwerk wie geplant ein. Das ergibt für sie selbst eine Überlebenschance von 40 Prozent, für das andere Objekt von 5 Prozent. Bahn 3 enthält einen Triebwerksschub in voller Stärke und eine Entlüftung des Sauerstofftanks. Das wird sie zum Trudeln bringen. DosRios 19/2 wird dann weit oberhalb des Kerns einschlagen, und zwar sicher. Das andere Objekt hat eine Überlebenschance von 80 Prozent. 64 versus 2 versus 80 Prozent. Der Effizienzalgorithmus hat leichtes Spiel. DosRios 19/2 schickt eine Abmelde-Bestätigung an das fremde Objekt. Über die kurze Distanz reicht auch die eingeklappte Antenne. Es ist eine Geste. Selbst eine primitive Steuerung sollte damit etwas anfangen können. Dann startet DosRios 19/2 ihr Triebwerk. Es brennt binnen 12 Sekunden aus. Sie entlüftet den Sauerstofftank. Plötzlich dreht sie sich. Sie treibt den Kometenkern entlang. Unter ihr blitzt etwas silbern auf. Ihre eingeklappte Antenne registriert eine Abmelde-Bestätigung. Dann prallt DosRios 19/2 gegen einen schwarzen Felsen. [...]

Heinde and Verre. City in flatland landscape. 2010.

1/100 Elyn Kshatriya

1/100 Elyn Gatling Guns x 4

Custom decals laid out by Dade W. Bell and printed by Samuel.

Custom mixed paint scheme with 12 layers of paint for both candy purple colors.

Paints are Gaia, Gunze, Vallejo, and Citadel.

This project took FOREVER and I frankly stopped keeping track of the hours once I hit 150. This is mainly due to all of the paint layers required to give the proper shading and depth I was after. Plus the fact that I'm a slow builder. lol Note that I also went with my concept of painting the frame in a lighter color than the armor. We often see MS frames painted in dark and/ or metallic colors, but I thought it would look much more interesting if the frame was a light color contrasted with the darker "candy purple" armor (kinda like my Ple Qubeley). Also note how I went farther with the idea of making the finish matte. I think this adds an interesting appearance to the candy surface and is actually more realistic and less toy-like than the usual gloss finish seen on candy colors (contrast with my Ple Qubeley...).

The pictures truly don't do the real thing justice and I'll try to take better photos (and a video) with my D5100 outside when it cools down in the fall... Until then, I think these pics will suffice.

With this project done, I'm done building Kshatriyas. Too much of my life has been taken up with these things and it's time to move on. Still, I'm the "Ple Guy" so I had to at least make this one. ;-) (Wink) As for how Ple could end up piloting the Kshatriya, below is the story file I created to go on the base when I have a custom label printed later...

An Alternate Timeline...

In the original events of ZZ Gundam, Elpeo Ple sacrificed herself to protect Judau Ashta from the Psycho Gundam Mk-II piloted by her clone, Ple Two. However, in this alternate timeline, Glemy Toto’s attempts to clone Ple failed... and as a result, Ple didn’t die at the hands of her now-nonexistent clone. Thus, the “butterfly effect” of the changed timeline allowed Ple to survive the First Neo-Zeon War.

With the First Neo Zeon War over, Ple headed to Jupiter with Judau and Roux, but eventually grew bored with her relatively peaceful life (not to mention her “third-wheel” status with her friends), and decided to return to the Earth Sphere. During the long voyage home, she was disappointed to find that she missed the events of the Second Neo-Zeon War (Char’s Counterattack), and vowed to never miss out on any further action.

So when Ple heard about Full Frontal’s group of Neo-Zeon remnants, The Sleeves, she joined them without hesitation (and received the customized purple Kshatriya for her personal MS). This was because of a longing for excitement more than any kind of belief in Neo-Zeon ideology, and the battlefield was once again filled with the giddy shout of, “Purupurupurupuru!”. However, she quickly switched sides when she discovered that Frontal was merely using her as a “test” against the Unicorn Gundam’s NT-D system (her ability to defeat her own NT-D-controlled funnels and fight the Unicorn to a standstill is a significant departure from the original timeline).

Being a natural Newtype and not subject to the side-effects of the Cyber-Newtype process (complicated by the horrible events of childhood), Ple was able to avoid most of the unfortunate, and ultimately fatal, events that befell her clone, Marida Cruz (Ple Twelve), in the original timeline. As a result, she and the Kshatriya were able to survive the Third Neo-Zeon war relatively unharmed... a feat for which she rewarded herself with a nice, long bubble bath.

www.child-adolescent-adult-development.info/playtime-for-...

Playtime for Grown Ups

By Calvin A. Colarusso, M.D.

Clinical Professor of Psychiatry,

University of California at San Diego

(12/07/2011)

Parents always tell kids to go out and play. But did you ever think that an adult, an adult and child psychiatrist no less, would tell YOU, the adult, to go out and play?

Well, Dr. Colarusso is doing just that. In this book he explains both the nature of play and the dynamics which make play such an essential part of human experience throughout the life cycle.

The message is get off that coach, get out of that rocking chair, and go and play. Adults need to play, maybe not as much as children do, but for the same reasons. Play is a way of mastering stress and trauma. It serves the same purpose for children and adults. The stresses of adulthood are in their own way more daunting than those of childhood. And we all have a need to master the traumatic overstimulation that characterizes our busy lives, to say nothing of the internal pressures that continually force us to deal with issues, relationships and experiences from the past and present.

Go and hit that great golf shot, watch an action movie, or see a good romance film and relive a youthful love affair. Join the Monday night football crowd. Reread Portnoy's Complaint. Take in your son's, daughter's or grandchild's soccer game. Buy some new sexual toys. They're all examples of how adults can and should play. Whatever you do, remember that play should be fun. But it's also a marvelous way to master the stresses of life. Just do it!

Playtime for Adults gives a clear understanding of the various forms of play available to adults and the reasons why play is important to mental and physical health, throughout adulthood.

This book includes:

An understanding of what motivates play

The role of thought and action in play

The different levels of play in childhood and adulthood

The relationships between creativity and play

The organizers of play in adulthood.

Sexual play

Understanding the nature of play and doing more of it will lead to a happier life.

ABOUT THE AUTHOR: Calvin A. Colarusso, M.D. is a board-certified Clinical Professor of Psychiatry at the University of California at San Diego, where he served for two decades as Director of the Child Psychiatry Residency Training Program.

He is also a Training and Supervising Analyst in child and adult psychoanalysis at the San Diego Psychoanalytic Institute and an internationally known lecturer to students, professionals, and the general public on many aspects of normal and pathologic development.

His books have been published in English, Korean, and Spanish. See amzn.to/calcolarusso.

Amazon Review

5.0 out of 5 stars hepful and practical, great info!, December 11, 2011

By Angela Johnson - See all my reviewsThis review is from: Playtime for Grown Ups (Kindle Edition)

"As a mother a of three active children, this was a book that I desperately needed to read. My life has been about them and only them since my oldest was born and although I don't regret anything for even a second, I have neglected myself for quite some time. This has led to me and the hubby not really connecting and enjoying each other like we had in the past. Of course if you ask him he won't admit it, but "play-time" for us has been nonexistent in our lives."

"The advice in this book has been wonderful and just by reading it, I've already started to feel better and more care-free. The author has a very friendly and uplifting style of writing, and his insights and ideas on adding creativity and play-time into the adults life are both practical and realistic. His intelligent thoughts on sexual play were probably my favorite part of the book, great ideas for keeping Mom emotionally and physically balanced ; )"

"Great book, I can't begin to recommend it enough. My husband has already agreed to read it too, I got him very interested with some of the ideas I told him about."

Pictured trailer was built for me by a local Maryland trailer dealer. This DJR house brand aluminum trailer was priced comparable if not less than mass produced entry level trailers but features more durable disk brake calibers as well as alloy wheels and Vault hubs. These hubs are manufactured by UFP and are advertised as maintenance free for five years. New to the market two years ago, Internet searches have yet to reveal any significant bad press on these hubs. Time will tell.

The trailer weighs 1180 lbs and is rated to carry a 9,000 lb boat. I expect my Bluejacket to weigh about 2800 lbs ready to cruise. To get a trailer long enough for a Bluejacket, we end up with a trailer substantially over built in regards to load capacity. The trailer has torsion axles which can be unbolted and repositioned to obtain prescribed tonque weight. I will have to fiddle with the bunks in regards to location and perhaps width. I will need some creative thinking on guides to assist in boat recovery. I anticipate adding guide bunks in the bow area.

I enjoyed interacting with Rick the technician who built the trailer. For a couple of years I have followed boat trailer forums thus was armed with many ideas and conclusions. The sentiment at the trailer dealership was that I was significantly overthinking stuff ("What is the diameter of a link in the safety chain?"). Not the first time this observation has been made in regards to my thought processes. In spite of myself, Rick kept me grounded and encouraged me, based on a total towing package of only about 4,000 lbs, to keep things simple. Always a pleasure when up-sell pressure is nonexistent.

Per the trailer forums, brake caliber corrison is a frequent headache and few folks seem happy with tire longevity/reliability especially those of Chinese manufacture. My trailer has surge disk brakes with a solenoid running off the back up light circuit to dump master brake cylinder pressure when backing. It will be about 18 months before the trailer with boat takes to the Interstates thus I only specified brakes on one axle. When the day arrives for frequent and high speed trailering of my Bluejacket, I may add brakes on the second axle especially if travelling in a state(s) that requires brakes on all axles. No reason today to double the number of brake calipers corroding from age and infrequent use. I had Rick set up the hydraulic lines to facilitate adding brakes to the second axle.

I have been annoyed by the clunking sound that surge brake activators make in response to tow vehicle braking or accelerating. Turns out there is a shock absorber inside the sliding brake activator mechanism on my trailer. I trust that this device will reduce if not prevent the clunking noise (**Edit 11/2013- It didn't.).

I wonder if the immersible LED lights on my trailer will have a lifespan much better than trailer lights featuring incandescent bulbs.

Next week I will construct a temporary platform on the trailer to transport stationary power tools and some furniture for our return to Texas in a couple of weeks.

*Edit 11/28/2012: Without incident we towed this trailer 1562 miles to Austin, Tx. Ann did her share of driving duties and experienced no difficulties in trailer handling. I constructed a 3'x2'x8' storage container loaded with disasembled stationary power tools for my Austin workshop. We also carried furniture which we donated to a cat rescue center in Austin. I estimate the total weight of 2500 lbs for trailer and cargo thus well below my Honda Pilot's 4,000 tow capacity. Per an erratic scale I was using, I ended up with about 70 lbs excess tongue weight than the 7-10% tongue weight rule prescribed. After the scale stopped misbehaving and gave a true weight, I deemed it too much effort to repack the storage container to reduce tongue weight. The Honda was squatting with the tongue weight along with the items in the back of the vehicle. Tongue weight along with the tandem axles eliminated any swaying and the trailer tracked like it was on rails. The trailer was a beast manuvering in gas stations and constant vigillance was required to turn wide and monitor the mirrors. My failure to do so almost resulted in planting a trailer fender into the front of a parked car at a gas station. I have much to learn in regards to large trailer manuvering.

The Honda's normal 20 mpg (flat terrain and 65mph) on the highway went to 14 mpg during the tow. I understand that at interstate speeds on level pavement 1/2 the force the engine must overcome is wind resistance. The blunt front of my storage container was probably the primary culprit in poor gas mileage. With a 20 gallon tank, way too many stops for gas especially with the stress of trailer manuvering.

This experience helped educate me on selection criteria for a larger tow vehicle.

024

Fortune Global Forum 2018

October 16th, 2018

Toronto, Canada

3:30 PM

THE NEW GLOBAL CONSUMER: DOING BUSINESS IN A DIGITAL ECONOMY

The digital economy is no longer part of the economy. It is the economy. How can traditional brick-and-mortar firms reinvent themselves, their supply chains, and their marketplaces to avoid the fate of brands once thought of as everlasting but which are now nonexistent? And how are new platforms – from e-commerce to shared services – rewriting the rules of the game? A conversation on how businesses can manage expectations for digitally empowered customers, and how technology is being used to enhance the customer experience.

Alain Bejjani, Chief Executive Officer, Majid al Futtaim

Andrea Stairs, General Manager, Canada and Latin America, eBay

Ning Tang, Founder and CEO, CreditEase

Moderator: Phil Wahba, Senior Writer, Fortune

Photograph by Stuart Isett/Fortune

Wat Ong Teu Mahawihan (Temple of the Heavy Buddha) is one of many Buddhist Monasteries that are present in the city of Vientiane in Laos. This name is given to the temple due to the large, bronze Phra Ong Teu Buddha image that is present within the temple: the largest Buddha in Vientiane. This temple was initially constructed by King Settathirat I in the 16th century (known as the golden age of Buddhism in Laos) when Laos was being bombarded by the Burmese, but was later demolished during a foreign invasion. Thus, it may have gone through many reconstructions during the 19th or 20th century to attain the appearance it has today.

Though this temple is created in Vientiane, it has the basic shape for what is known as the ‘Luang Prabang I style’ with its scare use of brickwork and rectangular-like body.

Wat Ong Teu is said to have been placed along a cardinal point in accordance with three other temples, but that may just be coincidental.

ORIGIN

After commanding for the relocation of the capital of Laos from the city of Luang Prabang to Vientiane, King Setthathirat I produced many monasteries such as Wat That Luang and Wat Phra Kaew. The reason this particular wat (Lao for temple) was built was because Setthathirat I desired to create the Phra Ong Teu image that would be placed within it, and to have it as his person living quarters. There would be six other sculptures of this image present in other monasteries, but Wat Ong Teu Mahawihan contains the first of them. Since this time period is known as the golden age, the wat would evolve into a complex with a sim (ordination hall), a ho rackhang (bell tower), a ho kong (drum tower), a that (stupa), and a kuti (monks’ living quarters). Each of these parts of the complex all share the similar artistic motif of the architecture of the central wat, which is discussed later.

The original use of this wat was for ceremonies of allegiance to the king. However, in the 17th century, Souligna Vongsa as king transformed this temple into a Buddhist learning center in order to ‘teach, enlighten and inspire worshippers.’ In other words, it has become a school for monks coming from around Southeast Asia to study the dhamma. This becomes apparent because surrounding countries of Laos sent their monks to Vientiane to study this religion. Such a function is more understandable of Wat Ong Teu since there are many details that give the suggestion of a learning center.

RECONSTRUCTION

When Siam sacked Laos in 1827-28 as a punishment for almost all of the monasteries in Laos, including Wat Ong Teu, were destroyed. This was only made worse afterwards when the Ho bandits tried sack Vientiane again to take gold from Wat Ong Teu and others. In 1900, following the establishment of the Franco-Siamese treaty in 1843, the French chose Vientiane as their capital and started the reconstruction of its monasteries including Wat Ong Teu. As an addition, the French may have also created a school, in the same format and appearance as the rest of the complex to further exemplify the function of Wat Ong Teu as a place of study. The Lao Buddhist Institute was made in 1929 and still functions today as a school for the Theravada Buddhist religion.

ARCHITECTURE

In retrospect, the influence on the style of the original temple can be traced predominantly to India, though not directly. Indochina was part of the sphere of influence of India, known by George Coedès as the ‘Indianization of Southeast Asia.’ The religion and customs of Indian civilization came ‘thoroughly yet peacefully’ to the people of this region, especially due to marriage between Indian men and local women. Laos however, was a nonexistent country during this time. The kingdom of Lan Xang (‘Land of a million elephants’) wasn’t established until the mid-13th century of the common era just years after all direct contact with India was completely diminished. Instead, the original Wat Ong Teu took its traits from other mixed ideas of architecture from surrounding countries that were established earlier than the 13th century. In essence, the variant notions of these Southeastern Asian countries on the Theravada Buddhist architecture of India, such as Cambodia and Siam (present day Thailand), influenced the ideas of how Wat Ong Teu would be depicted. However, even though Laos borrowed traditions from these other cultures, the 16th century turned a new leaf for the Lao people in the form of a golden age. Thus, Wat Ong Teu has most of its own Lao Buddhist features and only minor details of surrounding influences.

After the temple’s destruction, some of the techniques used to create it were lost, but much of it wasn’t forgotten. Instead, modern techniques were blended in with the old during the temple’s reconstruction, especially in what was used to fortify the walls and roof. The result became a rich new style that is exclusive to Lao architecture. This primarily is because the modern reconstruction completed by the French kept sincere adherence to these Lao notions already established on temple aesthetics, with some artistic liberties since Laos at this time was only a protectorate of France.

ENTRY GATE

This multi-tiered archway serves as the entrance into the complex where the temple is located. It is miniature compared to that of Pha That Luang. The functionality of this seemingly simple archway is similar to that of the torana, or gateway, of Indian culture. The torana served as the passageway from secular ground to sacred ground. The only difference is that this archway does not have any images for which a person can meditate and it doesn’t involve circumambulating a stupa. This characteristic may be present in all the temples and stupas that exist in Laos, especially at King Setthathirat’s more famous architectural creation, Pha That Luang.

MAIN ENTRANCE

The entrance to Wat Ong Teu is known to have a good amount of eccentricities that are indigenous only to Laos and no other Buddhist temple in Asia. Just before going up the stairs at the front of the temple, one can find the frieze that is exceedingly baroque in detail, highlighting this Lao style. The green backdrop shimmers as many carved and gilded vine leaves curve in no apparent order or pattern. This motif is repeated throughout the whole front part of the temple, even surrounding the six small Buddhas that are just below the frieze. This foliage may be an allusion to the lotus flower which is an aniconic symbol of the Buddha. Another Lao characteristic of monasteries is the pointed double archway that flanks the six Buddhas. There are many variations of this characteristic, but the archway of Wat Ong Teu is the most simplistic aesthetically.

One of the most native features to Laos is the Naga, or mythical water serpent, that serves as the guardian of the entrance. The Naga was widely known in Southeast Asia before Buddhism arrived. They would symbolize the Hindu god Shiva in which they represented destruction and renewal. How they relate to the Buddha lies in the story of Siddhartha under the Bodhi tree.

This could also be the second area for which one would pass from less secular ground to completely sacred ground. Though Nagas are usually seen with multiple heads, Wat Ong Teu’s version of the Naga has a single head with a its bright green body stretched out. There are three sets of these Nagas that all give access to the same patio-type area in front the temple. This aspect is interesting because there is only one door that gives an entrance into the temple. It may be a reference to the original function of this wat as the king’s temple, with the front stairs only being walk on by the king while the others were reserved for normal patrons. The posts perpendicular to these Naga resemble the sort of pagoda or tower one would see in Laos.

The doors and windows are made of wood and are also decorated with many leaves and stems that spiral sporadically. These images are all carved, painted red and gilded to make the door and windows look as if they were made of metal. Each of the windows and the door have different images of the Buddha either directly or by aniconic representation. Some of them may evidently portray a Jataka, or story given of one of the Buddha’s past incarnations.

ROOF

Seemingly the most intricate part of the exterior of Wat Ong Teu is its roof. It illustrates a myriad of different styles from around Asia that blend in an extraordinarily harmonious way.

A commonly used feature in Asia for the roof is the utilization of a curved roof. This non-linear approach was originated by the Chinese. In China, architects thought that evil spirits despised curved lines, therefore giving an apotropaic effect to the temple. Lao ideas of the curved roof should have been similar to China’s as well. This aspect is especially important when the principal function of this temple is to teach the Buddhist religion. Students learning the Buddhist religion should especially be protected from the evils of the outside world.

What is particularly interesting is the feature of multiple roofs that descend past the boundaries of the wall at a slope. This aspect is exclusive to Laos. Specifically, there are three or four superimposed roofs, with the two bottom roofs being supported by columns from within the temple. It is unknown as to the reason for this intricate design, but it may be another aspect of protection because multiple roofs could cause confusion among evil spirits.

The stone spire decoration with stacked superimposed, decreasingly sized disks in the center of the keel is definitively a Buddhist element. It is known that before the Buddha went through enlightenment, he was always covered by parasols to indicate his royalty as a prince. Therefore, it is not unusual to see a parasol-like spire atop this temple. The other flame-like decorations, called chaw faa (sky clusters), lining the edges and vertices of the roof are frequently used in Laos. This may also be another quality that emphasizes the apotropaic effect of the roof.

The exterior may have a lot detail that is used for protection and attraction, but the interior does not mirror the same intricacy. Within the temple, the floors are glossed and the walls and ceiling are painted with the same colors as the exterior. There is a red mat that is lined perfectly from the middle to the back of the sim where the Phra Ong Teu image resides. The most intricate objects within the temple are the columns that hold up the roof. They may have been made to look like oversized lotus flowers that have grown from the ground to support the roof of the temple. This may illustrate the natural world for which the Buddha himself would have liked to teach his followers.

MODERN TECHNIQUES

Once Laos became a French protectorate and reconstruction began, there may have been many liberties made to some of the minute details of the temple, but most of the essential attributes of the temple remain similar to the original construction. A very important change is in the stone and well-kept wood that fortifies the structure of the temple. The brackets are included in this use of preserved timber. Not only are there brackets on the outside, but in the inside as well. However, the columns are the objects that provide the most support for the 3 or 4 tiered roofs, so they are treated with more care than the brackets. Therefore, in essence, the modern approach is more of a post and lintel technique rather than the use of brackets. The lack of non-perishable material before French rule over Laos is indicative of their weak government.

Some details that are usually seen in developed countries in Europe and North America include small, hanging chandeliers as well as fans placed on each column that lines the sim. These simple touches do seem to emit a sort of waning of sacredness for which the temple was originally created, but it may not be complete departure from belief.

Most of the modern techniques may have been meant for the surrounding complex rather than the monastery itself, but the central theme of all these buildings and towers remain faithful to that of Wat Ong Teu.

ART

´HEAVY BUDDHA`

ACCOMPANIED BY TWO STANDING BUDDHAS

These original sculptures reside within the sim of the temple towards the furthest wall from the entrance. The Phra Ong Teu is made of a mix of metals, predominately bronze, and is seated atop a golden pedestal that was cast separate from the Buddha. The head may have been cast separately as well from the body and put together by the ‘tonged and grooved joint techniques’ showing the skill of Lao craftsmanship. The two standing Buddhas are connected to their own respective platforms. These sculptures are raised on top of a platform with a color scheme similar to the rest of the temple. More recently, these sculptures are draped in linen or silk cloth, depicting the saffron clothing monks usually wear in Laos, with neon-colored halos place on the wall behind them. This may just add an artistic effect to the Buddhas so that a more prestigious role could be emphasized of them. However, Lao artists of this time never thought of these or other Buddha images as art, only as a means to ‘educate and enlighten.’ Therefore, later use of this temple as a place for further learning of the Hinayana Buddhist religion would be the exact purpose for which the artists intended.

It is usual to see the Enlightened One alone or accompanied by bodhisattvas in a triad, but here all three of these sculptures depict the Phra Ong Teu Buddha. A strong indication that these sculptures are Buddhas is the parasols that are suspended over them. Each of the smaller Buddhas have a parasol above them that is attached to a post protruding out from behind them, but the main Buddha has a distinctively rectangular parasol that is fastened to the ceiling. These parasols act in the same way as the parasol located on the keel of the wat, but the parasols that hang over the Buddhas are more decorative. What is interesting is that the rectangular parasol hanging over the Phra Ong Teu is more of a Japanese trait than anything Laos. The only record of any Japanese interaction with Laos would be during a five-year period in WWII. The only action caused by them was the nationalistic passion that the Lao people had in opposition to them. Not enough time was put into having any influence on their art of this Buddha or the temple that it is in.

There are many other features of Phra Ong Teu Buddha that are common in relation to the codified Buddha, but it still has its Lao differences. The earliest image of the Buddha in Laos was influenced by the ‘Pha Bang Khmer style,’ but started to become more distinctive in the 16th century along with the golden age. For example, the tightly curled hair that is displayed on the main Buddha is strongly reminiscent of the Gandhara Style of India during the Gupta period, which is mirrored by the Pha Bang. However, the pointed swelling coming out of the top of the image’s head, signifying ‘transcendent knowledge,’ expresses an exclusively Lao idea. This type of swell may even be a facet solely of the Phra Ong Teu image that King Setthathirat created. Some other modified aspects of the image are the sharp ear rims with long lobes, the equal, extended length of the fingers and toes, and the sharp wide nose.

There are a few different mudras, or hand gestures, that these Buddhas portray. These gestures illustrate the Indian influence that is present in Laos. Both of the smaller standing Buddhas have their hands up with palms facing outward, meaning fearlessness. Their mudra differs from the main Phra Ong Teu Buddha. He instead adopts two different mudras that allude to the moments just before Siddhartha’s Enlightenment. Specifically, the left hand is placed in the lap with the palm facing up towards the face which represents the idea of meditation. The greater gesture that captures the Enlightenment within this image comes from his right hand. His hand is rested over his knee with fingers extended toward the earth. This symbolizes the calling of the Earth to protect the Buddha from Mara, India’s interpretation of the devil. This can then be connected to the Naga that was conjured up to help Siddhartha in his path for Enlightenment. In creating this image, King Setthathirat I proved his adherence to the Theravada Buddhism that has always been present in Laos since Lan Xang.

CONCLUSION

Of the many temples that are present in Vientiane, Laos today, Wat Ong Teu Mahawihan is one of the more undervalued temples. Every detail that makes up this composition of this monastery has some sort of allusion to the teachings or image of the Buddha. From the Nagas guarding the entrance of the temple to the fastidiously heavy Buddha at the back of the sim within the temple, from the carved windows and doors to the lotus columns supporting the roof, Wat Ong Teu is a complete illustration of the story of Siddhartha meditating under the Bodhi tree. No area of the temple is left untouched which results in a sense of sacred ground.

Though it may not be an international symbol, Wat Ong Teu is more widely known as an educational institute that provides widespread teaching of the Theravada Buddhism that originated in India. That belief hasn’t meandered to this day. As a center for learning, Wat Ong Teu still continues to house the teachings of the beginning of Buddhism straight from the Buddha, though the two parties live centuries apart. With respect to Laos, education of this religion is what allowed France to be interesting in them even though France’s main focus was Vietnam. From to the French came Lao nationalism in opposition to the Japanese. All of this sparked from monasteries in Laos, Wat Ong Teu included.

WIKIPEDIA

Närke Stormaktsporter

Dark brown with a hint of red in color and a pale brown head that was practically nonexistent.

Had a slight burn with apparent campfire smoke and tobacco aromas.

Smoke and molasses prevail with a cherry flavor creeping in the back.

Mouth feel was somewhat thin.

Good beer overall. As I came to the end of my pour, each sip smelled more and more like a blunt wrap—huge tobacco, and I enjoyed that. But not worth the price and effort to obtain it in my opinion.

Närke Kaggen! Stormaktsporter

Dark Brown with a thin tan head coating the top.

Smells of tobacco, wood, bitter chocolate, campfire smoke, and alcohol.

It tasted similarly to the Närke Stormaktsporter (for obvious reasons), however everything was a bit subdued. A slight tobacco flavor with bitter chocolate, dark fruit, and alcohol.

Still a thin mouthfeel, a slight oily slickness.

Again, a good beer, but I preferred the non barrel aged version.

The Funky Buddha Floridian Hefeweizen

not pictured

Poured from a growler. No notes, but I remember the nose being a little off-putting, but tasted excellent. Very tart, slight citrus fruit flavors followed by big vanilla and a little bit of clove. I'd like to get more of this, or something similar.

The Lost Abbey Veritas 009

Dark reddish brown with tan bubbles. No head—this beer really isn't carbonated, but it was expected.

I could smell a bit of bourbon barrel, big dark fruit, slight funk, a bit of apple, tobacco, and chocolate.

Big cherry flavor followed by a sweet caramel/butterscotch maltiness, followed by tart cherry. Big sour, slight bourbon and chocolate also mix into the experience.

Oily in texture, thin to medium mouth feel.

AWESOME BEER. It was incredibly complex. I personally don't need carbonation with this beer. It drank more like a wine, and I'm fine with that. The mix of cherry, caramels, chocolates and bourbon in this sour beer put me in an extremely happy place. I would drink this often if enough actually existed. Sadly, I doubt I experience it ever again.

The Bruery Chocolate Rain

Dark brownish black in color with a dark tan head that receded rather quickly.

Smells of walnuts, big chocolate, a bit of caramel and vanilla take over. I could smell it as soon as Matt was pouring the first glass.

Again, huge chocolate immediately on my first sip. Pretty much tasted like a piece of moist chocolate cake with hints of caramel and vanilla. Dark fruits and barrel spice.

A medium to thick mouth feel, slightly oily, with what I felt was the perfect amount of carbonation.

Another winner here. At this point, I've just experienced some big hitters in both complexity and flavor. This is a true dessert beer. About 6 ounces of this was plenty. I could've drank more, but unneccesary.

The Lost Abbey Isabelle Proximus

Bright yellow in color with a little bit of head that receded soon after being poured.

Lemon zest on the nose. Accompanied with some funk and unripened strawberry's.

Sour lemon on the palette.

Dry, crisp mouth feel.

A delicious, refreshing, sour beer. Matt brought some cheeses as well. The funky cheeses were pairiing really well with this beer.

Mikkeller black (黑)

After the first half of this tasting, some 15 year old Pappy Van Winkle, and some veggies, I stopped writing notes.

I bought this beer in early 2009. I loved this beer. That is all.

Jolly Pumpkin Biere de Mars (2010 & 2011) & Biere de Mars Grand Reserve

What I remember from this specifically, the 2011 was my least favorite. Big difference between the 2010 and 2011. The Grand Reserve reigned supreme. All were sour and fruity. Dark red in color. A little funk. Overall, delicious beers.

Dogfish Head 120 Minute IPA

(bottled November 2008)

You can still smell the alcohol, but not really surprised. Tasted excellent. A great balance between the sweet maltiness and super hop profile.

Three Floyds Amon Amarth Ragnarok

At this point, my palette's pretty much wrecked. What I remember was how hoppy it was. Way hoppier than I expected. I had this at the brewpub earlier this year. It didn't taste like I'd remembered it. I enjoyed the bottled version more.

The Postcard

A postcard bearing no publisher's name that was printed in Great Britain. The five Weymouth locations are identified on the back of the card:

The Beach and Promenade The Swannery

The Harbour

The Floral Clock Sandsfoot Gardens

The card was posted using a 3d. stamp in Weymouth on Thursday the 20th. June 1968 to:

Mrs. Dent,

Ewlme,

Beckley,

Sussex.

The message on the divided back was as follows:

"Having a nice time at

Weymouth. The weather

has been good since I

arrived on the 10th.,

staying until the 29th.

The Dorset countryside

is really beautiful.

Love,

June."

Weymouth

Weymouth is a seaside town in Dorset, England, situated on a sheltered bay at the mouth of the River Wey on the English Channel coast. The town is 11 kilometres (7 mi) south of Dorchester and 8 kilometres (5 mi) north of the Isle of Portland. The town's population in 2011 was 52,300.

Weymouth is a tourist resort, and its economy depends on its harbour and visitor attractions; the town is a gateway situated halfway along the Jurassic Coast, a World Heritage Site on the Dorset and east Devon coast, important for its geology and landforms.

Weymouth Harbour has provided a berth for cross-channel ferries, and is home to pleasure boats and private yachts, and nearby Portland Harbour is home to the Weymouth and Portland National Sailing Academy, where the sailing events of the 2012 Olympic Games and Paralympic Games were held.

The history of the borough stretches back to the 12th century; including involvement in the spread of the Black Death, the settlement of the Americas, the development of Georgian architecture, and a major departure point for the Normandy Landings.

Austin Currie

So what else happened on the day that June posted the card?

Well, on the 20th. June 1968, Austin Currie, an elected member of Northern Ireland's parliament, called national attention to discrimination against the Roman Catholic minority in predominantly Protestant Northern Ireland by becoming a squatter.

Currie and two other people learned of a house in Caledon, County Tyrone, that had been allocated to a single, 19-year old Protestant woman, even though there were 269 families ahead of her on a waiting list for housing.

When police from the Royal Ulster Constabulary moved in to remove Currie and his group, he had a television crew present to film the action. The BBC Evening News broadcast the incident, and for many people in Britain, it was the first they heard of religious discrimination in Northern Ireland.

Stamp Counterfeiting

Also on that day, a federal law that had prohibited the printing of color images of United States postage stamps, was repealed when President Johnson signed legislation.

A White House statement said:

"Since stamp counterfeiting is today

virtually nonexistent, this restriction

is no longer necessary. There is no

reason now why the full meaning and

beauty of our postage stamps cannot

be communicated to all the world in

color reproduction."

Previously, stamp catalogs and encyclopedias could only display black-and-white images. The law had become obsolete after U.S. stamps were impregnated with an invisible phosphor which causes canceling machines to reject counterfeits".

David Ruffin

Also on the 20th. June 1968, David Ruffin was fired from The Temptations for missing a performance, after he developed a cocaine addition and began questioning Berry Gordy's handling of the group's financial affairs.

The Rolling Stones

Also on that day, the Number One chart hit record in the UK was 'Jumping Jack Flash' by the Rolling Stones.

Phottix recently came out with a new remote that uses 2.4GHz wireless. The Phottix Plato. It's a little pricier (~$45) but from first glance, I can see a couple of advantages over the Cleon.

[0] Digital encoding gives you a more discrete signal and helps to avoid misfires.

[1] Smart codes rolls the codes automatically to avoid contention with other remotes or RF signals.

[2] Two-way communications between receiver and transmitter confirms you are within range or not. It also seems to have a longer range.

[3] Interchangeable end-cords allows you to use the same remote on various cameras simply by replacing the connecting cord. For instance, use the N8 cord for the D300 and the N6 cord for the D80.

[4] Uses more common batteries rather than the expensive "exotic" ones the Cleon uses.

[5] Slicker looking construction.

So... I decided to get one. Tonight I came home from a business trip and found my Plato sitting in my mailbox. There were three items in the package... well five if you count the two double-packs of AAA batteries.

[0] Transmitter

[1[ Receiver

[3] Cable

Both the transmitter and receiver take common AAA batteries. This is a great improvement over some of the older Phottix and Cactus wireless remotes that took a combination of CR2 and type-N... both of which are rather expensive. There was also a single instruction sheet which was as expected written in Engrish although admittedly it's not as bad as some other products I've seen. There was however one glaring error which I will go into about later.

After installing the batteries, both the transmitter and receivers immediately power up. Shutting each of them down requires a push of their power/select button for about 3 seconds. Both have an auto-poweroff feature that shuts them off after an hour of inactivity.

Unlike previous Phottix RF remotes, this one uses rolling codes instead of choosing from amongst preset frequencies. So instead of flipping DIP switches on each device to match one another, the transmitter and receivers must be paired like bluetooth devices. The set comes pre-synced to one another from the factory but you can reset the code by resyncing them. This is accomplished by first turning on the receiver and transmitter. The transmitters picks a code. Then on the receiver, you set it to learning mode by tapping the power button five times. On the transmitter, you push the shutter release button and the two are now synced. You can sync as many as 16 million receivers to the same transmitter. The remote uses the 2.4GHz band which can get congested so in certain environments, it may take a while for the pair to negotiate with one another. But once paired the likelihood of misfires or inadvertent triggers is nearly nonexistent. There are two status LEDs on the transmitter. Half-pressing the shutter release button will confirm that you're in range by lighting them both green as well as passing a half-press action to the camera which should respond in kind (ie. activate AF and VR) depending on how the camera is configured.

The transmitter and receiver are make and model agnostic. The vendor specific interface is handled by the cable. In my case, I am using the N8 cable for the D200 and D300. One end of the cable plugs into the camera and the other end is a simple three-contact 3.5mm "headphone" style plug which can be plugged into the receiver or the transmitter. When plugged into the receiver, the transmitter is in wireless mode. If however you wish to trigger things via a wired remote, you can plug the cable into the transmitter directly. All functions are the same in either mode. Note that the instruction sheet says that it is the receiver that can be used for wired triggering operations but this is in fact incorrect.

The transmitter has two buttons. The big button is the shutter release. The smaller button is the mode select and power button. Holding down this button for about 3 seconds powers the transmitter on or off. There is a series of LEDs that indicate which type of triggering mode you've selected. The following modes are supported:

[] Single - Pressing the shutter release acts like a single press of your camera's shutter release.

[] 2s Delay - Pressing the shutter release button invokes a 2-second delay before a single release signal is sent.

[] Continuous - Pressing the shutter release button once will cause the remote to trigger five individual releases. Holding down the button will act like holding down the shutter release on your camera. The camera's behaviour will be governed by the drive-mode in such a case.

[] Bulb - Pressing the button once is the same as holding down the shutter release on the camera. Press it again to release. This is intended to be used with the bulb shutter-speed setting but if combined with any other shutter speed will act like a press once to activate and press again to release so for instance, if you are in AF-C and don't have bulb set for the shutter-speed, your camera will continue shooting until you tap the button again.

Again, half-press operation is supported and in wireless mode, the two status LEDs at the top will turn green to confirm transmitter-to-receiver signal reception. A full press will turn the two LEDs red. In wired mode only LED #1 will show status.

The receiver has a single button for on/off and learning mode selection. There are also two LEDs. In normal operation, the left most LED will repeatedly flash red to indicate that the unit is on and ready. The right LED will turn green when it receives a trigger signal from the transmitter. Putting the receiver into learning mode causes the right LED to flash rapidly. The receiver also has a hot-shoe mount so it can be conveniently secured to the flash shoe.

All in all, I'm pretty happy with this remote. It's certainly a nice improvement over the older Cleon and would highly recommend it over the Cleon line even though it's about $10 more expensive.

Posted by Ping.fm

The structure was designed with the help of science fiction writer Ray Bradbury, who also helped write the original storyline for the attraction

The term 'Spaceship Earth' was coined by Buckminster Fuller,who also developed the structural mathematics of the geodesic dome.

The structure

Close-up of Spaceship Earth's Alucobond tiles

The structure is similar in texture to the United States pavilion from Expo 67 in Montreal, but unlike that structure, Spaceship Earth is a complete sphere, supported on legs. The structure's exterior is comparable to that of a large golf ball.

Geometrically, Spaceship Earth is a derivative of a pentakis dodecahedron, with each of the 60 isosceles triangle faces divided into 16 smaller equilateral triangles (with a bit of fudging to make it rounder). Each of those 960 flat panels is sub-divided into four triangles, each of which is divided into three isosceles triangles to form each point. In theory, there are 11,520 total isosceles triangles forming 3840 points. In reality, some of those triangles are partially or fully nonexistent due to supports and doors; there are actually only 11,324 of them, with 954 partial or full flat panels.

The appearance of being a monolithic sphere is an architectural goal that was achieved through a structural trick. Spaceship Earth's is in fact two structural domes. Six legs are supported on pile groups that are driven up to 160 feet into Central Florida's soft earth. Those legs support a steel box-shaped ring at the sphere's perimeter, at about 30 degrees south latitude in earth-terms. The upper structural dome sits on this ring. A grid of trusses inside the ring supports the two helical structures of the ride and show system. Below the ring, a second dome is hung from the bottom, completing the spherical shape. The ring and trusses form a table-like structure which separates the upper dome from the lower. Supported by and about three feet off of the structural domes is a cladding sphere to which the shiny Alucobond panels and drainage system are mounted.

The cladding was designed so that when it rains, no water pours off the sides onto the ground. (All water is "absorbed" through one inch gaps in the facets and is collected in a gutter system - and finally channeled into the World Showcase Lagoon.)

Visionary Poet of the Millennium

An Indian poet Prophet

Seshendra Sharma

October 20th, 1927 - May 30th, 2007

seshendrasharma.weebly.com/

seshen.tributes.in/

www.facebook.com/GunturuSeshendraSharma/

eBooks :http://kinige.com/author/Gunturu+Seshendra+Sharma

Rivers and poets

Are veins and arteries

Of a country.

Rivers flow like poems

For animals, for birds

And for human beings-

The dreams that rivers dream

Bear fruit in the fields

The dreams that poets dream

Bear fruit in the people-

* * * * * *

The sunshine of my thought fell on the word

And its long shadow fell upon the century

Sun was playing with the early morning flowers

Time was frightened at the sight of the martyr-

-Seshendra Sharma

"We are children of a century which has seen revolutions, awakenment of large masses of people over the earth and their emancipation from slavery and colonialism wresting equality from the hands of brute forces and forging links of brotherhood across mankind.

This century has seen peaks of human knowledge; unprecedented intercourse of peoples and

perhaps for the first time saw the world stand on the brink of the dilemma of one world or destruction.

It is a very inspiring century, its achievements are unique.

A poet who is not conscious of this context fails in his existence as poet."

-Seshendra Sharma

(From his introduction to his “Poet’s notebook "THE ARC OF BLOOD" )

* * * * * *

B.A: Andhra Christian College: Guntur: A.P: India

B.L : Madras University: Madras

Deputy Municipal Commissioner (37 Years)

Dept of Municipal Administration, Government of Andhra Pradesh

Parents: G.Subrahmanyam (Father) ,Ammayamma (Mother)

Siblings: Anasuya,Devasena (Sisters),Rajasekharam(Younger brother)

Wife: Mrs.Janaki Sharma

Children: Vasundhara , Revathi (Daughters),

Vanamaali ,Saatyaki (Sons)

Seshendra Sharma is one of the most outstanding minds of modern Asia. He is the foremost of the Telugu poets today who has turned poetry to the gigantic strides of human history and embellished literature with the thrills and triumphs of the 20th century. A revolutionary poet who spurned the pedestrian and pedantic poetry equally, a brilliant critic and a scholar of Sanskrit, this versatile poet has breathed a new vision of modernity to his vernacular.Such minds place Telugu on the world map of intellectualism. Readers conversant with names like Paul Valery, Gauguin, and Dag Hammarskjold will have to add the name of Seshendra Sharma the writer from India to that dynasty of intellectuals.

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Seshendra Sharma better known as Seshendra isa colossus of Modern Indian poetry.

His literature is a unique blend of the best of poetry and poetics.

Diversity and depth of his literary interests and his works

are perhaps hitherto unknown in Indian literature.

From poetry to poetics, from Mantra Sastra to Marxist Politics his writings bear an unnerving pprint of his rare genius.

His scholarship and command over Sanskrit , English and Telugu Languages has facilitated his emergence as a towering personality of comparative literature in the 20th century world literature.

T.S.Eliot ,ArchbaldMacleish and Seshendra Sharma are trinity of world poetry and Poetics.

His sense of dedication to the genre of art he chooses to express himself and

the determination to reach the depths of subject he undertakes to explore

place him in the galaxy of world poets / world intellectuals.

Seshendra’seBooks :http://kinige.com/author/Gunturu+Seshendra+Sharma

Seshendra Sharma’s Writings Copyright © Saatyaki S/o Seshendra Sharma

Contact :saatyaki@gmail.com+919441070985+917702964402

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Seshendra Sharma : Scholar - Poet

Seshendra Sharma, a scholar - poet was born (October 20, 1927) into a Pujari ( Priests ) family in Nellore District in the state of Andhra Pradesh in India . Seshendra’s father and his grandfather were well versed in Sanskrit Literature, Vedas and scriptures. At home itself, thus from his childhood , Seshendra got the opportunity of learning and training in Sanskrit. This was further nurtured by the Village school of Thotapalligudur, where he spent best part of his childhood.

Seshendra’s father was a well-to-do person, a Munsif ( village officer ) of the village, possessing more than Ten Acres of agricultural Wet land and own house . Father’s desire to see his son flower into a top man turned a new leaf in Seshendra’s life. Seshendra’s father admitted him for B.A. Graduation course in Andhra Christian College in Guntur. Incidentally, Seshendra’s Family Sir Name and this town’s name are one and the same. This is a turning point in the budding poet’s journey. Seshendra got significant exposure to the Western World, particularly to the Western Literature. The makings of a Visionary Poet germinated in him in this Alma Mater. His journey of poetry started with Translation of Mathew Arnold’s “Sohrab and Rustum “ , a long poem , which Seshendra translated into Telugu in Metrical poetry with accomplished finesse . This trend eventually blossomed and Seshendra emerged as an Epic – Poet. His My Country – My People : Modern Indian Epic is observed by learned critics as a land mark in modern poetry ranking it on par with T.S. Eliot’s Waste Land . This long poem was nominated for Nobel Prize in 2004. His subsequent works Gorilla, Turned into water and fled away, Ocean is my name – long poems were reviewed in scholarly strain.

Seshendra’s desire to perform in films took him to Madras, today’s Chennai in Tamil Nadu. In Madras he formally joined B.L. Course with Madras Law College. And was developing contacts in the Telugu Cinema Circles and was working as a freelance journalist. He used to translate articles into Telugu for Janavani , a popular weekly of those times whose editor was Tapi Dharma Rao , a towering personality of Telugu Literature. This facet of journalism of his personality rose to its full heights in 90s. When Soviet Union collapsed he wrote a series of articles in Telugu as well as in English decrying the west’s sinister plot, villainous machinations to pull down Communist Regimes. He sang odes / Laurels to communism and expressed in aggressive tone and style that communism will never die. It remains in the genes of oppressed peoples of the world for ever. Perhaps Seshendra is the only poet from the Indian Subcontinent to pen Anti – Imperialist essays during those times. He completed his Law course but his desire to act in films remained unfulfilled. Seshendra’s Classmates at his Alma Mater, A.C.College, Guntur, N.T.Rama Rao and Kongara Jaggaiah became popular actors of Telugu Cinema. N.T.R became an all time super –hero. Seshendra’s father and maternal uncle forcibly brought him back from Madras, and with the good offices of native Member of Parliament put him in Government service as Deputy Panchayat Officer. In due course of time, on deputation, joined Municipal Administration Department and worked as Municipal Commissioner in all Major cities and towns of Andhra Pradesh. With the result he got wide exposure to conditions of social life of his times. He obtained personal acquaintance of Common Man’s life and his travails. This enriched his vision of life and literature a great deal.

With Seshendra Poetry and Poetics are Siamese Twins. He penned works of Literary Criticism both on classical and contemporary poetry. Sahitya Kaumudi (Telugu ) and his bi-lingual book “ the ARC of Blood : My Note Book “ illustrate this point. His Research work on Valmiki’s Ramayana , Shodasi : Secrets of The Ramayana , questions the very foundations of centuries old assumptions. Seshendra, based on scientific research citing from the original text of Valmiki and Vedas, reveals that The Ramayana is not just story of Rama told in enchanting poetry , But the Sage wrote the epic to spread Kundalini Yoga among the masses of his era. His observations that the concepts of Vishnu and Reincarnation were non –existent during Valmiki’s Epoch constitute a revolt against centuries old beliefs. Sita is the central character of The Ramayana and she is Kundalini Shakti / Adi Para Shakthi . During that era temples and prayers were nonexistent. This hits directly at the very foundation of Temple System.

His Kavisena Manifesto , is a noteworthy work on Modern Poetics. In this work, he compiles cogently definitions of poetry cutting across centuries and countries and writes scintillating commentary. This Manifesto of Modern Poetry is a sort of Wikipedia page of world poetry. Seshendra, finally concludes that poetry is emotions and feelings skilfully garbed in unusual diction, and poetry is a way of life.

Discerning scholars critics and academics are of intrinsic opinion that T.S.Eliot ,Archibald MacLeish and Seshendra Sharma are trinity of world poetry and Poetics.

But this Scholar – poet of 20th century is an unsung and unwept genius of his times.

Prime Minister of India honoured Seshendra with Gold Medal in Sahitya Akademi ( India ) Golden Jubilee celebrations and Chief Minister of AP honoured him with Hansa Literary Award on the eve of UGADI , Telugu New Year Day in 2005 .

In one of his poems he says fragrance of stars is calling me. Seshendra left this world and vanished into fragrance of galaxies on May 30, 2007.

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GunturuSeshendraSarma: an extraordinary poet-scholar

One of the ironies in literature is that

he came to be known more as a critic than a poet

HYDERABAD: An era of scholastic excellence and poetic grandeur has come to an end in the passing away of GunturuSeshendraSarma, one of the foremost poets and critics in Telugu literature. His mastery over western literature and Indian `AlankaraSastra' gave his works a stunning imagery, unparalleled in modern Indian works. One of the ironies in literature is that he came to be known more as a critic than a poet. The Central SahityaAkademi award was conferred on him for his work `KaalaRekha' and not for his poetic excellence. The genius in him made him explore `Kundalini Yoga' in his treatise on Ramayana in `Shodasi' convincingly. His intellectual quest further made him probe `NaishadhaKaavya' in the backdrop of `LalitaSahasraNaamavali', `SoundaryaLahari' and `Kama Kala Vilasam' in `SwarnaHamsa', Seshendra saw the entire universe as a storehouse of images and signs to which imagination was to make value-addition. Like Stephene Mallarme who was considered a prophet of symbolism in French literature, SeshendraSarma too believed that art alone would survive in the universe along with poetry. He believed that the main vocation of human beings was to be artists and poets. His `Kavisena Manifesto' gave a new direction to modern criticism making it a landmark work in poetics. Telugus would rue the intellectual impoverishment they suffered in maintaining a `distance' from him. Seshendra could have given us more, but we did not deserve it! The denial of the Jnanpeeth Award to him proves it

The Hindu

India's National Newspaper

Friday, Jun 01, 2007

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Pardon Me Father!

I could not rescue him from the clutches of that nymphomaniac and vampire. There may be an exception or two but an average Indian woman desires from the depths of her soul that her husband should live long and she should pass away before him. She performs prayers and fasts on auspicious days for this purpose. She in spite of being 3years elder to him did away with my father in a planned and premeditated manner and I was a silent and helpless witness to it. He suffered 1st Heart attack in November 1997. Cardiologists performed angiogram and advised open heart surgery. Because there were blocks in vessels and one valve was damaged. But she successfully thwarted it and without my knowledge or informing any one got angioplasty done in Mediciti (Hyderabad: AP; India) her plan was to do away with him and live long, and establish herself as his wife through his books. He was succumbing to her blackmail. My overwhelming hunch is that she was threatening him with social insult and humiliation if he parts ways with her.

Between 1997-2007, she played football with his body. He used to be hospitalized every now and then with swollen body and heart pain. Because of damaged valve pumping was impaired and water used to accumulate in the system. Every time I used to force her to hospitalize him. He used be in ICCU for a couple of days and recover marginally. After each visit to hospital he was getting debilitated gradually. He was put on wheel chair. He was virtually under house arrest. He was not allowed to speak to friends and family members. Visitors were kept away. He was taking Lasix (Tablet: is a diuretic that is used to treat fluid accumulation, caused by heart failure, cirrhosis, chronic kidney failure, and nephrotic syndrome.) to flush out water accumulated in his body. This creates a painful dilemma in me whether my interference in his health matters was just. As his son it was my moral duty to protect him. But I sometimes feel if I were not to interfere she would have put him to death long ago and thus he would have escaped from physical and mental torture quite early.

Towards perhaps end of the month of March she withdrew medication. He got swollen suddenly and that condition continued till the last day i.e. 30th may 2007. Each time I visited I used to tell that witch to take him to hospital. But after a couple of visits I got convinced that she made up her mind this time to do away with him. I requested a bastard who was feigning to be a friend of mine, who incidentally happens to be a legal luminary of this region to send a doctor friend to that place and ascertain the exact condition of his health. But of no avail.

I kept on telling him to come out of that place and lead a normal and healthy life. Her blackmail gained an upper hand and I lost in my efforts to restore health to him and bring him back to civilized society. O God pardon me for not being able to outmanoeuvre her machinations. Pardon me father.

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Who Are The Legal Heirs of Seshendra Sharma ?

DISCLAIMER

The literary world is aware that my father Gunturu Seshendra Sharma, eminent poet, litterateur and scholar-critic, died on 30th may 2007. Ever since he expired, there has been no mention of his parents, family members and other personal details in the news and in the articles about him. Not only this, fictional lies are being spread and using money power one shady lady is being propagated as his wife and so on. This has been causing me, as his son, a great mental agony. That is why, through this article, I am revealing certain fundamental truths to the literary field of this country and the civilized society. I appeal to your conscience to uphold truth, justice and values of our composite culture.

Seshendra Sharma's family members are: Parents: Subrahmanyam Sharma, Ammaayamma- Wife: Janaki Daughters: Vasundhara, Revathi, Sons: Vanamali, Saatyaki. Only these two are legal heirs of Seshendra Sharma, socially and morally too.

Street Play and Circus: In 1972, away from the civilized society, without the knowledge of parents and near and dear, in a far flung village called Halebeed in Karnataka a circus, a street play was staged. Let me make it clear that even after this street play my father did not divorce my mother Mrs.G.Janaki legally. He never had even a faint intention of committing such an uncivilized act. On the contrary, in all crucial Government documents he nominated my mother as his legal heir from time to time. During his long career as Municipal Commissioner with The Government of Andhra Pradesh, he retired 3 times. His first retirement came in 1975 by way of compulsory retirement for his anti establishment writings during Mrs. Gandhi's' emergency. His second retirement came in 1983 when the then new chief minister N.T. Rama Rao's government reduced the age of service from 58 to 55 years. The third and final retirement in the year 1985 on attaining 58 years of age. On all these occasions, in all the government documents, my father Seshendra Sharma nominated my mother Mrs. Janaki as his legal heir. This is precisely why the self contradictory 'second marriage' is a circus enacted away from the society and Law does not recognize this type of street plays as marriage.

Lakshmi Parvathi in literature

N.T. Rama Rao, actor turned politician married Ms. Lakshimi Parvathi in 1994 and subsequently in January 1995 he came to power for the second time. She used to act as an extra constitutional power and run the matters of government and the party. She developed her own coterie of cohorts and started dominating the party. After NTR was toppled by his own son- in-law, most of them parted ways with her. And the remaining touts left her for good the day NTR breathed his last. Ms.Indira Dhanrajgir has been playing the same role in Telugu literature over a period of more than 3 decades. In the guise of literature she developed her own coterie of lumpens with extra literary and money mongering elements - Tangirala Subba Rao, Velichala Kondala RAo(Editor:Jayanthi) Cheekolu Sundarayya(A.G.'s Office, Hyderabad et al).

There are a couple[ of dissimilarities between these two instances. After the demise of NTR, L.P's coterie of cohorts disappeared once and for all. Whereas, in Indira Dhanrajgir's case new lumpens are entering the field with the passage of time. Squandering her late father's wealth, she is roping in new touts. Since NTR's wife Basava Tarakam passed away in 1984 and since he was old and sick NTR's marriage with LP has ethical basis and is legal completely. Whereas I.D's is neither ethical nor legal. Hence it is a street play. This is the reason why after my father's death she has been spending money on a larger scale and indulging in false publicity and propaganda. Bh. Krishna Murthy, Sadasiva Sharma (The then Editor of Andhra Prabha:Telugu Daily, presently with Hindi Milap) Chandrasekhara Rao(Telugu lecturer: Methodist Degree College) etc. are indulging in all sorts of heinous acts to prop up I.D as my father's wife.

My father passed away on 30 May 2007. When our family was in grief and I was performing the 11 day ritual as per my mother's wish, the above mentioned Sadasiva Sharma went to Municipal Office on 4th June, created ruckus, played havoc telling them that he is from the Prime Minister's Office , мейд some 'senior officials' make phone calls to the officials concerned and got my father's death certificate forcibly issued. When the entire family was mourning the death of the family head, a stranger and a lumpen S.S -Why did he collect my father's death certificate forcibly from the municipal authorities? Whom did he collect it for?

THREE NAMES OF THE SAME PERSON IN 3 DECADES

This is perhaps for the first time that the name of a lady appears in 3 forms at a time. Perhaps in 1970, in my father's collection of poems"PAKSHULU her name appeared As Rajkumari Indira Devi Dhanrajgir. In 2006 she published a fake version of Kamaostav(Rewritten by a muffian Called Chandrasekhara Rao) . In this book her name appears as R.I.D.D. Prior to 1970 in Maqdoom Mohiuddeen's(Renowned Urdu Poet) anthology of poetry 'Bisath -E-Raks', in Urdu as well as Hindi , at the end of two poems her name appears as Kumari Indira Dhanrajgir. On 15th June 2007 A.P state cultural affairs department and Telugu University jointly held my father's memorial meeting. I.D hijacked this meeting by issuing her own commercial advertisements in English and Telugu dailies. In these advertisements her name appeared as Smt. Indira Devi Seshendra Sharma and again in the commercial public notices мейд by her in the month of November 2007her name appeared as Rajkumari devi etc. Why does her name appear in different forms on different occasions? Will I.D explain? Will Sadasiva Sharma clarify, who forcibly took my father's death certificate after four days of his death? Or will Bh.Krishna Murthy clarify?

If I.D has even an iota of regard, respect for or faith in love, or relation, the institution of marriage, immediately after'Halebeed Circus', she would have used my father's family sir name and her name would have appeared as Gunturu Indira. Since she was conscious of her goal during all times and conditions she did not take such a hasty and mindless step of change of her name.

WHERE DOES THE REAL SECRET LIE? Her life is totally illegal, anti-social and immoral. I.D's father performed her marriage with SRikishenSeth, Nephew of the then Prime minister to Nizam, Maharaja Kishen pershad in 1945. On the day of marriage itself I.D beat SrikeshenSeth up and ran away from him. She did not stop at that. She propagated among his friends and relatives and near and dear that he was not enough of a man and unfit for conjugal/ marital life. She filed a divorce case against him and dragged it till 1969/70. Lion's share of her husband's life got evaporated and was sapped completely by then. His parents used to approach I.D's father and plead with him to prevail upon his daughter, put sense into her head and see that she either lives with their son or dissolves the marriage legally so that they can remarry off their son. But I.D did not heed. Raja Dhanrajgir after getting disgusted with her nasty activities stipulated a mandatory condition in his will. He stated that I.D would be entitled to get a share of his property only if she is married.

This is the reason why ID who has no respect for the institution of marriage or regard or desire for marital life , in the guise of love and love poetry inflicted indelible blemish on the institution of marriage which is unprecedented in the literary history of the world. After my father's death she has been indulging in more rigorous false publicity along with her coterie of touts.

KAMOSTAV:STORY OF ID'S SOUL:

With this novel Kamostav, father's literary life came to an end for good. He did not produce literary works worth mentioning in his later phase of life. During those days he asked for my opinion on that novel. I told him clearly that it lacks the form and content of a novel- it does not have a story line, plot, sequences, characters and eventually a message which every novel gives. Hence it is a trash. Several people went to court and got its publication in a weekly stopped. ID got this very trash rewritten completely by Chandrasekhara Rao and printed it. This kind of heinous development has never taken place in the recorded history of Telugu literature till date. A writing which brought disrepute to my father in the literary field and isolated him in the society, why did she get it rewritten by somebody and publish it claiming copyright to be hers? What is her motive? What is her aim? That is why Kamotsav is ID's biography, story of her inner soul.

SESHENDRA'S COPYRIGHTS:

My father gifted away copyrights of his entire works along with their translations to me by way of birth day gift to me on 2.12.1989. Since then I have published several of his works during his lifetime itself. Kamostav, the version that is secretly мейд available is the dirty work of cheapsters and lumpens under the leadership of ID. It is much worse than violation of copyrights. That is the reason why I have been reluctant to take action so far. If she and her debased henchmen try to violate copyrights of my father's works bequeathed to me, I shall take exemplary legal action against them.

ID мейд 2 public notices to the effect that my father cancelled all his earlier transfer of copyrights and retransferred all his rights to her. This is a palace intrigue in the modern era in our civilized society.

WHAT DOES LAW SAY ABOUT COPYRIGHTS?

An author can transfer copyrights of his works to any one as per her/his wish. But the Copyrights Act 1957 and the Supreme Court in its various judgments has clearly stipulated a procedure to revoke earlier assignment and transferring of copyrights to somebody else subsequently. The author has to issue a notice to the 1st assignee, giving 6 months time for reply. Depending on the reply the author can take his next step. Where as in my father's copyrights matter he did not even inform me orally of any such cancellation. ID claims that she has a typed document of transfer of copyrights signed by my father on 5.1.2006. Between 5.1.2006 and 30.5.2007, leave alone issuing a notice, he did not even inform me orally.

My father who assigned copyrights to me in his own handwriting, when he was relatively young and physically fit did not require to cancel the 1st assignment when he was totally dilapidated, almost bedridden and was counting his days. Another important aspect of the matter is that I have printed the Xerox of my father's document in his own works as early as 1995 and have been doing so from time to time during his life time. Where as ID claims to possess a document after my father's death and she has not мейд it public so far. ID tried to get my father's complete works published in different languages by Telugu University (Hyderabad: A.P: India) by paying them Rs. 6 Lakhs. I approached Telugu University and apprised them of facts. On the advice of legal experts, they stopped this project and returned ID's money to her. It is an incontrovertible fact that ID's document is a forged and fraudulent document which does not stand scrutiny before law. Court shall certainly award her exemplary punishment. In all societies and times literature has been social wealth/public property from time immemorial. It should not be used as a mask to grab share of parental property illegally and unethically. I am committed to this cause/ ideal and appeal to the civilized society to strengthen my hands in this endeavor. ID's younger brother Sri Mahendra Pratapgir is the lone legal heir apparent of that family and keeping him in dark, she is squandering her father's wealth in Telugu literature for her nasty propaganda.

FATHER PASSED AWAY:

In 1997 when he suffered the 1st heart attack he was half-dead. Dr.Sudhakar Reddy, cardiologist of Mediciti Hospitals (Native of Warangal.A.P) performed angiogram and diagnosed that he had blocks in arteries and one valve was damaged completely. He advised open heart surgery. But ID averted it and got angioplasty performed. His health declined rapidly since then and was leading the life of virtually an invalid till he breathed his last. He suffered inexplicable mental and physical torture for about a decade. During the last leg of his journey he was isolated from his family completely. He was deserted by one and all in the literary field. When his younger brother passed away, his younger sister passed away he did not visit his ancestral home in his village and call on those families. He became target of jealousy and animosity in the society. He became a victim of false impression with the society that he was an aristocrat and rolling in luxuries. Whereas, he was deprived of even his native vegetarian food for decades together. As a silent and helpless witness to these painful happenings, I was subject to untold mental agony.

In the later half of March 2007 on one of my visits to him, I was aghast at his condition. His entire body was swollen. His appearance was like that of a stuffed gunny bag. I told him to get hospitalized. I told ID to rush him to a hospital. But of no avail. On 30th may 2007 at about 11 pm I got a phone call from her" Come soon/Serious" she said. As I entered at 11.15 pm "Go inside/he is no more' she said.

* * One day when swarms of lamps vanish, in the light of a lonely lamp I ask the dumb pillars "Can't you liberate me from the disgust of this existence? I ask those stand still forest flame trees

which blossom flowers at that very place year after year

"can't you rescue me?

I ask those high roof tops and this Venetian furniture

which every one feels are greater than me, "can't you rescue me from the disgust of this existence?" All these answer in a melancholic voice "We have been languishing since more than 100 years watching the same unchanging scenes we are older prisoners than you are" (Janavamsham: Telugu: Seshendra: Page 80-81:1993: Translated by me)

My father's first biography (in Hindi) titled "Rashtrendu Seshendra: Ashesh Aayaam" by Dr.Vishranth Vasishth appeared in 1994. Touching upon these very sensitive aspects of my father's life he commented in that book"SONE KE PINJRE ME PANCHCHI" (A bird in a golden cage). Alarmed and agonized by his rapidly declining health, as early as June 2002, in order to bring pressure on ID, I gave a 2 cassettes long interview to Vijayaviharam of Janaharsha group. Later on when I enquired about that interview they said that in the raids conducted on their premises, they got destroyed.

I wanted to rescue my father and bring him back home when he was in good health. Alas! At last, I took him to the burial ground, laid him on the funeral pyre and consigned him to flames and returned home all alone.

G.Satyaki S/o Late.G.Seshendra Sharma

Hyderabad.T.S.INDIA

saatyaki@gmail.com

+91 94410 70985, 7702964402

Sounds like an upmarket luxury retreat but is actually a now largely disused refuelling stop for the local lobster fishermen. They work their pots along the wild, exposed coast and come in for a welcome respite in the Jailhouse Cafe and plug into Sky TV to get news and weather updates. It used to be occupied by a family but now is largely disused except for use as storage.

Doubtful Sound is a very large and naturally imposing fjord (despite its name) in Fiordland, in the far south west of New Zealand. It is located in the same region as the smaller but more famous and accessible Milford Sound.

Doubtful Sound was named 'Doubtful Harbour' in 1770 by Captain Cook, who did not enter the inlet as he was uncertain whether it was navigable under sail. It was later renamed Doubtful Sound by whalers and sealers.

A Spanish scientific expedition commanded by Alessandro Malaspina visited Doubtful Sound in February 1793 to conduct experiments measuring the force of gravity using a pendulum, a part of the effort to establish a new metric system. The officers of the expedition, which included Felipe Bauzá y Cañas, a cartographer, also made the first chart of the entrance and lower parts of the Sound, naming features of it. Today these form a unique cluster of the only Spanish names on the map of New Zealand: Febrero Point, Bauza Island and the Nee Islets, Pendulo Reach and Malaspina Reach.

There are three distinct arms to the sound, which is the site of several large waterfalls, notably Helena Falls at Deep Cove, and the Browne Falls which have a fall of over 600 metres. The steep hills are known for their hundreds of waterfalls during the rainy season.

Access to the sound is either by sea, or by the Wilmot Pass road from the Manapouri Power Station. Most areas of the sound itself are only accessible by sea however, as the road network in this area of New Zealand is sparse or nonexistent, as is the human population.

Charles John Lyttelton, 10th Viscount Cobham, Governor-General of New Zealand (1957-1962) wrote about this part of Fiordland:

"There are just a few areas left in the world where no human has ever set foot. That one of them should be in a country so civilized and so advanced as New Zealand may seem incredible, unless one has visited the south-west corner of the South Island. Jagged razor backed mountains rear their heads into the sky. More than 200 days of rain a year ensure not a tree branch is left bare and brown, moss and epiphytes drape every nook. The forest is intensely green. This is big country... one day peaceful, a study in green and blue, the next melancholy and misty, with low cloud veiling the tops... an awesome place, with its granite precipices, its hanging valleys, its earthquake faults and its thundering cascades."

Doubtful Sound is unusual in that it contains two distinct layers of water that scarcely mix. The top few meters is fresh water, fed from the high inflows from the surrounding mountains, and stained brown with tannins from the forest. Below this is a layer of cold, heavy, saline water from the sea. The dark tannins in the fresh water layer makes it difficult for light to penetrate. Thus, many deep-sea species will grow in the comparatively shallow depths of the Sound.

This fiord is home to one of the southernmost population of bottlenose dolphins. The Doubtful Sound bottlenoses have formed a very insular sub-group of only about 70 individuals, with none having been observed to leave or enter the Sound during a multi-year monitoring regime. Their social grouping is thus extremely close, which is also partly attributed to the difficult and unusual features of their habitat, which is much colder than for other bottlenose groups and is also overlaid by the freshwater layer.

Other wildlife to be found in Doubtful Sound includes fur seals and penguins (Fiordland crested and blue), or even rare large whales (Southern Right Whale, Humpback Whale, Minke Whale, Sperm Whale and some Giant Beaked Whales. Orca, the Killer Whales and Long-Finned Pilot Whales can be found also. The waters of Doubtful Sound are also home to an abundance of sea creatures, including many species of fish, starfish, sea anemones and corals. It is perhaps best known for its black coral trees which occur in unusually shallow water for what is normally a deep water species.

The catchment basin of Doubtful Sound is generally steep terrain that is heavily forested except for locations where surface rock exposures are extensive. Nothofagus trees are dominant in many locations. In the understory there are a wide variety of shrubs and ferns.

whether you're anti or for, it's two sides of the same thing. And I would like to be completely... nonexistent. -- Marcel Duchamp.... get rid of the "I" in "vierge" [virgin]... and you have "verge" [penis]..."before the Nude my paintings were visual. After that they were Ideatic"

When I made this image of a southbound on the CN Bessemer Subdivision in October 2012 I wasn't thrilled about the crossing gate arm being in the shot. So I never processed or posted it.

More than a decade later my opinion changed. Motive power consists of solid Bessemer & Lake Erie locomotives are rare to nonexistent now, particularly on the original B&LE. So now despite the crossing gate I've decided this photo is worthy after all.

The train is crossing KO Road north of Greenville, Pennsylvania.

Yeah... I'm not even attempting to perform any kind of test with this. I don't think you can draw a single scientific conclusion here. I can say that the Super Takumar lenses are much more pleasant to manually focus. They also appear to have terrific contrast and metering was no problem. In fact, it seems I got better exposures with the Super Takumars than with my Nikkors - strange.

Settings were identical for all these shots and these are SOOTC JPEGS resized identically and assembled in CS3 with no other adjustments. All focussing errors are my own. Also, virtually nonexistent window lighting forced slow shutter speeds. My own laziness forced them to be hand-held. ;-)

This was my first time actually plane watching at Miami International Airport (MIA). I checked some spotter websites to find some good locations. They recommended The Holes as being an "official" site so we checked it out. I was pretty disappointed; there was a lot of construction going on and parking was nonexistent. My wife dropped me off. The area is totally exposed. Even though it was December it was pretty hot - no shade, no place to sit, no other people around. The holes are actually pretty small so it's hard to get a lens through the hole. Arrivals were almost impossible to shoot but you could see planes taxiing by for takeoff. After an hour I was cooking so we bagged it. We then went to the area close to the El Dorado furniture store. Much better. There were a bunch of spotters from around the world there. It was a great atmosphere. Nicely shaded, safe, close to some stores and a lot of good traffic to watch. I saw a bunch of planes from airlines I had not seen before, including some airlines I had not heard of. Some of the planes didn't show up on Flight Radar 24 so they were very pleasant surprises. All in all a very good day and I'd love to go back there!

I took these photos in December 2019.

"my name is sizwe and i am going to make your life a beautiful day"

you will go to sleep with dirty feet

you will wake up with very many bug bites, because hey princess, this is africa

hahahahahahahahaha does he think we just got here or something

does this playa think we've never been to the eastern cape wtf

you will not wear anything clean

you will talk to me about your mommy

you will navigate this river and

a hard bed is very good for you

you will wake up at six am with the sun

and arms sore from rowing for ten kilometers yesterday

you will carry two large plastic jugs a kilometer to the water pump

and carry them both back on the ends of a long stick

and watch a boy who looks thirteen or something run faster than you have ever seen anyone run even in the nba

and then you will have a lot less respect for trained athletes though that was always dwindling very rapidly and on the verge of being nonexistent

which is probably not for the best

when people i know say "athletes" they are almost never talking about the bike messengers they know, the motherfucking ruckus they bring to the pavement

they're not talking about their friends who love moving their bodies to the same intensity

they're talking about football necked catholics and blonde spiky haired mainstream hip-hop blasting lean and awkwardly muscular b-ballin' supahstahzzzzzzzz

mmmhmm

hahahahahaha i am thinking about whether or not there is an inherent difference between spencer gutierrez and a kid i knew in high school named "jordan white" which is a very athletic name

good times

well

i will wash my muddy clothes in the sink

and then i will laugh thinking about getting stuck in the quicksand today up to my waist

and actually employing something i learned on man vs. wild in real life

and willy stared at me and said, "holy crap"

and then i laughed very hard at the idea of

actually employing something you learned from a television show

and a british man whose name is bear

an athlete!

contemplate existentially thanking man vs wild

deciding against it

and then hang those clothes on the tree in front of the hut

the european tree in front of the hut

fuck

nothing is simple

is there anywhere in the world where things can be simple

kristin says, maureen, you could never have a "good trip" (no offense)

why is that

because you think way too much, you're just going to be sad

i could probably make a powerpoint slideshow to show examples about how much i like you

it would be very funny and i would use sarcastic clip art

i would also use a pie chart to show "times when i like you in loud ways and times when i like you in quiet ways"

my favorite thing you have ever said so far in front of me is something about you and something i think is very true that i want to keep for my own body

and something i sort of want to hold you for

yes

hang up your clothes and try to sleep

nope

take three excedrin tension headache and then go to sleep

have a dream that barack obama has hiv

wake up and be like wtf

this has been on my mind nonstop for four months

quicksand tv star dreams of being in belle and sebastian

want what you can't have (at the moment)

want what you can't be (perhaps never?)

forevah

Phottix recently came out with a new remote that uses 2.4GHz wireless. The Phottix Plato. It's a little pricier (~$45) but from first glance, I can see a couple of advantages over the Cleon.

[0] Digital encoding gives you a more discrete signal and helps to avoid misfires.

[1] Smart codes rolls the codes automatically to avoid contention with other remotes or RF signals.

[2] Two-way communications between receiver and transmitter confirms you are within range or not. It also seems to have a longer range.

[3] Interchangeable end-cords allows you to use the same remote on various cameras simply by replacing the connecting cord. For instance, use the N8 cord for the D300 and the N6 cord for the D80.

[4] Uses more common batteries rather than the expensive "exotic" ones the Cleon uses.

[5] Slicker looking construction.

So... I decided to get one. Tonight I came home from a business trip and found my Plato sitting in my mailbox. There were three items in the package... well five if you count the two double-packs of AAA batteries.

[0] Transmitter

[1[ Receiver

[3] Cable

Both the transmitter and receiver take common AAA batteries. This is a great improvement over some of the older Phottix and Cactus wireless remotes that took a combination of CR2 and type-N... both of which are rather expensive. There was also a single instruction sheet which was as expected written in Engrish although admittedly it's not as bad as some other products I've seen. There was however one glaring error which I will go into about later.

After installing the batteries, both the transmitter and receivers immediately power up. Shutting each of them down requires a push of their power/select button for about 3 seconds. Both have an auto-poweroff feature that shuts them off after an hour of inactivity.

Unlike previous Phottix RF remotes, this one uses rolling codes instead of choosing from amongst preset frequencies. So instead of flipping DIP switches on each device to match one another, the transmitter and receivers must be paired like bluetooth devices. The set comes pre-synced to one another from the factory but you can reset the code by resyncing them. This is accomplished by first turning on the receiver and transmitter. The transmitters picks a code. Then on the receiver, you set it to learning mode by tapping the power button five times. On the transmitter, you push the shutter release button and the two are now synced. You can sync as many as 16 million receivers to the same transmitter. The remote uses the 2.4GHz band which can get congested so in certain environments, it may take a while for the pair to negotiate with one another. But once paired the likelihood of misfires or inadvertent triggers is nearly nonexistent. There are two status LEDs on the transmitter. Half-pressing the shutter release button will confirm that you're in range by lighting them both green as well as passing a half-press action to the camera which should respond in kind (ie. activate AF and VR) depending on how the camera is configured.

The transmitter and receiver are make and model agnostic. The vendor specific interface is handled by the cable. In my case, I am using the N8 cable for the D200 and D300. One end of the cable plugs into the camera and the other end is a simple three-contact 3.5mm "headphone" style plug which can be plugged into the receiver or the transmitter. When plugged into the receiver, the transmitter is in wireless mode. If however you wish to trigger things via a wired remote, you can plug the cable into the transmitter directly. All functions are the same in either mode. Note that the instruction sheet says that it is the receiver that can be used for wired triggering operations but this is in fact incorrect.

The transmitter has two buttons. The big button is the shutter release. The smaller button is the mode select and power button. Holding down this button for about 3 seconds powers the transmitter on or off. There is a series of LEDs that indicate which type of triggering mode you've selected. The following modes are supported:

[] Single - Pressing the shutter release acts like a single press of your camera's shutter release.

[] 2s Delay - Pressing the shutter release button invokes a 2-second delay before a single release signal is sent.

[] Continuous - Pressing the shutter release button once will cause the remote to trigger five individual releases. Holding down the button will act like holding down the shutter release on your camera. The camera's behaviour will be governed by the drive-mode in such a case.

[] Bulb - Pressing the button once is the same as holding down the shutter release on the camera. Press it again to release. This is intended to be used with the bulb shutter-speed setting but if combined with any other shutter speed will act like a press once to activate and press again to release so for instance, if you are in AF-C and don't have bulb set for the shutter-speed, your camera will continue shooting until you tap the button again.

Again, half-press operation is supported and in wireless mode, the two status LEDs at the top will turn green to confirm transmitter-to-receiver signal reception. A full press will turn the two LEDs red. In wired mode only LED #1 will show status.

The receiver has a single button for on/off and learning mode selection. There are also two LEDs. In normal operation, the left most LED will repeatedly flash red to indicate that the unit is on and ready. The right LED will turn green when it receives a trigger signal from the transmitter. Putting the receiver into learning mode causes the right LED to flash rapidly. The receiver also has a hot-shoe mount so it can be conveniently secured to the flash shoe.

All in all, I'm pretty happy with this remote. It's certainly a nice improvement over the older Cleon and would highly recommend it over the Cleon line even though it's about $10 more expensive.

Travel the world means to pass by from a province to another, everyone of which is a solitary star. For the greater part of the persons who live in the real world ends on the home’s threshold, at the limit of the village, at the extreme - to the border of the valley.

The world that is beyond is nonexistent and quite useless, while the one around them and all what their eye succeeds to embrace, rises to the dimensions of the great cosmos that darken all the rest.

Often the inhabitants of a place and who come from outside have difficulty to find a common language, since everyone of them watches the place through different optical: who comes from outside uses to wideangle, that make smaller the images but increases the horizon, while the person of the place has always used the telephoto lens, if not quite the telescope, that enlarge the minimums details.

Rysard Kapuscinski (Ebony)

We got off our coach (after a mornings tour around Seville) and headed for the Alcazar! We didn't go on the boat trip, so we followed the tour guide towards the Cathedral, before we made our own way to the Alcazar.

Near Calle Santander.

On Calle Adolfo Rodriguez Jurado. Near Av de la Constitucion. Corner of Calle Joaquin Hazanas.

Edificio Coliseo España

The Colosseum Spain, has become an icon in the new Constitution Avenue. The building has gone through many experiences throughout its history, some speak of monumentality and glamor, others neglect and contempt.

The roaring twenties, led to the arrival of new services Sevilla hitherto nonexistent, and many public and private buildings, hotels, fire stations, train stations and of course, cinemas and theaters arise. This was done the Teatro Coliseo Cinema Spain, a building that would house something as modern as the film, but without forgetting the Sevillian touch. The film would not get a plot in the Seville and Andalusian architecture well into the thirties, where Deco architecture was chosen.

Currently used as offices of the Board of Andalucia

should i process these pictures in any order? this is from like 4 cities after mumbai.... the evening we went to old delhi with THE WONDERFUL FABULOUS BRILLIANT MATHIEU!!!!! www.flickr.com/photos/mathieujv/ which seriously, everyone with a brain should go spend at least 365 days with mathieu and his wife in delhi and you will emerge completely refreshed and happy.

old delhi is nuthouse. the alleyways shouldn't fit more the two people but as usual, squeeze 10 people, 4 vendors and 2 cycle rickshaws. haha ok maybe it's not that bad. for the record, chandni chowk is the name of the market we were in when i took this picture. minutes before we took a stroll down that insane street, i had gotten into a little tiff with a boy with limited knowledge of english and common sense at a mosque who tried to get me to pay for my camera, the camera fee, which is acceptable in some places, even there, BUT i wasn't going to be taking any pictures in his mosque. he didnt even know i had a camera, as it was hidden in my bag. i think he just thought that all the white people (there were about 2 others there) just always take pictures of mosques where ever they go. (i got tired pretty quickly taking pictures of temples and mosques and forts and palaces in india, no offence to old delhi mosque boy, but i didn't want any pictures there.)

i refused to pay for something i wasn't going to use and mathieu ended up holding my bag and camera outside the mosque. then before entering the mosque, the boy wrapped me up in this hideous red and yellow floral plastic robe that zipped from my neck/ears down to the ground, it DRAGGED because i'm like 5 inches shorter than most of the world. apparently my pants and tunic were too immodest for the mosque. excuse me, but really?? the other white people were wearing shorts and tanks in the mosque!! obviously the boy, angry with me for not giving him the camera fee for the camera i didnt have, wanted me to look ridiculous and sweat my entire body weight off, as delhi is about 97 degrees and 95% humidity. and that i did.

eric and i (wearing the screaming vinyl tablecloth) walked around the mosque for a while before i began suffocating and decided it was just a mosque and lets just go eat. upon getting back our shoes at the entrance, the same delightful boy as before unzipped me. then i realized he didnt just want me to look like a kitchen table from 1972 and drown in salty wetness, he also wanted me to be forced to pay the "coat fee" for wearing the ugly abomination.

when i refused that, saying "well you didnt let me take my bag in so i don't even have any rupees" he said "laundry fee"

and i said "no."

and he said "yes. have to."

i said "no."

he said "required."

and i said "no."

and he said "5 rupees" (which is a pointless amount of money, but it had now become about the principle of winning)

so i said loudly and slowly, right into his eyes, "I DONT HAVE MY MONEY SINCE YOU DIDNT LET ME TAKE MY BAG IN, YOU KNOW WHAT I MEAN?"

then i walked off. i woulda given him 5 ruppes for the laundry fee if he hadnt been so insane about my nonexistent camera. then 15 minutes later i took this picture and about 108 others. notice how the memory written here has nothing to do with this staring bald baby.

View On Black

Operation “Salt City" resulted in the arrest of 248 individuals from May through September 2015. Of those arrested, 124 were active gang members. During the operation 22 firearms, more than $237,000 in U.S. currency, 70 grams of heroin, 266 grams of cocaine, and 723 grams of marijuana with a total estimated street value of almost $44,000 was taken off Syracuse streets by participating agencies.

Operation Salt City is part of the U.S. Marshals nation-wide “Triple Beam” gang reduction initiative. Triple Beam partners federal, state, and local law enforcement to reduce violent crime and take dangerous offenders off the streets. The goal of the U.S. Marshals Gang Enforcement Program is to seek out and disrupt illegal gang activity in areas of the country with smaller or nonexistent gang enforcement units by providing manpower, funding and the Marshals’ renowned fugitive tracking abilities.

Photo by Shane T. McCoy / US Marshals