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A £10 note being washed down the drain.
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After I sprayed some carb cleaner on the parts. Note some of the pieces came out of alignment.
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STOP! Don't take your shifter apart until you have positively identified that the problem is internal and can not be solved or helped by spraying lubrication into the shifter.
Background: My brother in-law brought his bike over and mentioned that the shifting wasn’t working. He had purchased the bike used sometime in the last year but this was the first time I had seen it. Thus I don’t know the full background of the bike but here is a general description. The bike had a full Shimano 105 ((speed 5500 series) buildout, it was a 1999 Raleigh R600 (2) based on some BikePedia research. It had an Ohio bike shop sticker on it and there was some rust on the brake springs and stem. Bare aluminum by the cranks looked slightly corroded. So to me it looked like the bike may have spent some time outside, unprotected or ridden in salty midwest winters.
Diagnosing: On the bike stand I pedaled and tried to shift through the gears in the rear (right shift lever). The downshifting clicks (big paddle) were distinct but a little gummy. The upshift (small paddle) didn’t want to click. As I pushed the small paddle the big paddle wanted to follow. I then unhooked the rear derailleur cable and removed it from the shifter so there was no tension from the rear derailleur. There wasn’t much improvement in how crisp the shifting felt. When pressing the small paddle the large paddle still wanted to follow. The large paddle had to be held in place while the small one was pressed in order to get a click/shift. This pointed towards an internal problem.
Lube First: Since the action felt gummy and there was evidence the bike may have been left outside I suspected the internal lubrication in the shifter was no longer in good shape. At this time I tried spraying some PB blaster (which I bought based on internet recommendations) into the shifter lever and working it the shifter though the range of clicks. In a best case scenario the action would have freed up and the shifter been usable.
I opted to to take a more extreme solvent to the shifter, some aerosol carburetor cleaner. This stuff is nasty. I had gloves and glasses on. I watched some of the clear coat bubble off the aluminum shift/brake lever. I suspect this could also harm plastic or rubber items as well. I regretted using the carb cleaner at this point. I wiped as much off as I could and tried spraying more PB blaster in and the shooting some BikeAid lubricant in. This process was messy. It was hard to tell if the solvent/lube was getting fully into the shifter. I think this process did loosen up some of the gummy grease but as I would later find out there was more to the problem.
Going Deeper: At this point the shifter was still not working and I wanted to see inside of it. I’d found enough pieces of information online to suggest that is was possible to take apart (and reassemble) an STI shifter but it was also possible that I would end up losing parts or never get it put back together. I gave myself a quick pep talk, listened to John Henry and decided to give those Japanese robots a run for their money.
Preparing to Disassemble: I made sure to have a clear and clean work place on my workbench with some fresh paper towels down. For tools I had a small philips, ⅜” punch, allen wrenches, 8mm and 9mm wrenches, dental picks and a roll pin. I had teflon grease for reassembly. I shifted to the highest gear position to release as much initial spring tension as possible. The Front/Back and Top/Bottom of the shifter all refer to the viewpoint of a rider sitting on the bike. The shifter was primarily disassembled facing the front of the shifter though so Left/Right references would be reversed from the riders perspective.
Disassembly: I took the lever off the bike and removed the rubber hood (3485, 3486). I pried off the plastic 105 cap that covered the front of the shifter (3487). I backed out the grub screw (3489) that kept the pivot in place and used the punch to drive it out (3491). There is a coil spring that helps the brake lever return. Take note of its position (3493-95). Remove the brake cable stop pivot (3496). The pivot has a plastic and metal beveled washer on each side (3502-04)
At this point the brake components have been removed from the shifter (3505-06). On the front of the shifter there is a philips head bolt that holds a black plastic bracket that the 105 faceplate was formerly mounted to (3508). Removing this bolt will not release any springs. This reveals an 8mm nut (5510). This nut holds the large shift paddle/brake lever on the center column of the shifter but there is a second screw on the back we will get to in a moment. Remove the metal washer with the cross shaped center and the nylon shim using a pick (3511, 12, 14). Notice the end of the coil spring that will release in a moment (3511).
Turn the shifter over to see the back and there is a philips screw that needs to be removed (3515-17). This will allow the large shift paddle to come fully off and release the first coil spring (3519-21, 24). Some shots of the lever disassembled to this point (3526,28,29,31). Use a 9mm wrench to take off the next gold nut (3532-33). This frees rest of the shifter components to come off the central column (3534). The first pieces to come off are a metal plate, a round grey plastic plate and the large gray plastic housing. As the large housing comes off a small spring will release (3535-36). Photos 3543-53, show the shifter with the housing remove. The pawls and ratchets wheels are all still in place though so this series should be helpful for verifying reassembly too.
I donned the nitril gloves and put on my glasses again so I could use more of the carb cleaner to try to clear out some of the gunk before continuing to remove parts. During this cleaning some of the pieces began to slide further off the central column so not all of the parts are in alignment in these photos (3554-57). The next parts to come off are the ratchet wheel assembly, this is also what holds the shift cable head (3558-59). There is a coil spring sandwiched in this assembly that causes the ratchet wheel to want to return to the high gear position (3562). The silver ratchet wheel has teeth on the right side (NDS) that engage the twin pawls on the top of the shifter. Behind this is a pair of gold ratchets that have a black metal piece in between (3562). These pawls are on the left (DS) of the shifter and engage the pawl on the bottom of the shifter. Photo 3563 shows the last of the ratchet wheel assembly removed, the pawls are still in place. Photo 3569 shows the parts removed at this point.
Photos 3571-72 show the orientation of a few pieces that need to go on in a specific way. Pulling a black metal piece off reveals a thin silver washer (3573). The next few photos show how warped and bent this silver washer was. I suspect that this was the culprit or evidence of the interference that was going on in the shifter. (I accidently changed the name of these photos before I realized the sequential numbers were easier to reference). The last parts on the column are a silver ‘comma’ shaped piece with a cross in the middle, a ‘c’ shaped spring and one more thin silver washer with a tab (3585).
Assembly: First off, Sorry. There are only about ten pictures of the assembly process. It was very iterative. I had to repeat a lot of steps as things fell out of alignment. When I would accomplish a sub step I wouldn’t want to let go if the parts and take a picture since there would be a chance all of my work would come undone.
Starting with the first three pieces, silver washer, c-spring, and comma, make sure they align like shown in 3588-89. I unhooked the springs for the pawl eventually to keep it out of the way. It was easy to reinstall later. I then put the same bent washer back since I know there are no spare parts. I also didn’t want to keep the shifter apart to look for a substitute part and then forget how to put it back together. Added some new clean grease though (3593). Picture 3594 shows another milestone. This took a little while but I figured out to put the 1st gold ratchet wheel and the black spacer on first. Next put the second gold piece already mounted to the silver ratchet wheel with the coil spring and holder in place. These 5 parts go on as one. Keep the spring pinched in place and slide it in the cross column with the cable head holder in the 2 o'clock position. Rotate CCW, you’ll feel the spring tensioning, until you get to 10 o'clock and then things should press together. More shots of this phase are shown in 3595-97.
I missed a photo of the next stage in assembly, that is re-loading the small spring that is hiding behind the silver plastic cover (3535-36 disassembly). I used the roll pin to pull the spring down and then snap the gray plastic cover on. By the time I had it finsihed it was all covered up (3599). The gold plate and nut held everything together at this point. The last step was pretty much to put the large shift lever on. It has one large coil spring that needed to be pre-loaded. This was easy after all the prior steps and because I had a small roll pin. Unloaded, the spring tab rests in the 10 o'clock position but needs to be moved CW to the 2 o'clock position. Once there, pinch the lever in place and it will hold. Put the outer nut on, put the philips screw on in the back, and then the tense part of the shifter assembly is over. After that put the shifter back onto the brake mount and replace the rubber hood. The shifter should be in the highest gear position. Try clicking through the range.
Verdict: The shifter still sucks. I put it back together correctly (which was an accomplishment) but there was too much internal friction still. The clicks are there but the internals are not free to move about without impacting other internals. Unfortunately disassembling, cleaning, and regreasing couldn’t solve the problem in this case. I don’t know is something else was bent or if i tightened the two inner nuts too much. It was still an interesting learning experience though.
Two women having a discussion and sharing information during a business meeting. Shallow depth of field.
Sunset from the shores of Caye Caulker. The beginning of the rainy season is a landscape photographers' dream. Hopefully one of them caught this sunset. ; )
Manufacturer/Model: Nikko (Nippon Kogaku/Nikon) Orion 6X24
Field of View: 10 deg = 175 m/1,000 m; APFOV 60 deg
Weight: 446 gr
Exit Pupil: 4 mm
Serial #/Year of Manufacture: 67018 = Probably early - mid 1930's
Notes: Nikon began manufacturing binoculars in 1917 under the name Nippon Kogaku K.K. (the name Nikon was not used until 1959) and exported over 15,000 prismatic binoculars to Europe and North America in 1918. In 1921 Nippon Kogaku hired 8 German scientists and engineers to assist in redesigning their binoculars. The Orion 6X24 was one of their creations, and almost immediately in 1923 the model was adopted by the Imperial Army as its primary prismatic binocular. Later during the 1930's upon war with China, the design was released to numerous other manufacturers to boost production, and it subsequently saw extensive use during WW II.
This example is very well-made and light-weight and gives a very pleasing wide-angle view, easily the widest view of any standard army 6X binocular used by the powers during WW II. During the war none were made with coated optics, but afterward many were assembled from surplus parts and sold, some with coated optics. See: www.flickr.com/photos/binocwpg/4323170120/in/set-72157623....
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© 2013 photos4dreams - All rights reserved.
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
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June 2014
Illustration of The Armed Man composed by Karl Jenkins
June 2014
Illustration of The Armed Man composed by Karl Jenkins
SECTION 1: L'Homme Arme
This piece is based on the 15th century French Renaissance song of the same title. It is thought to have been composed for the lead up to a new crusade against the Turks. It roughly translates to ‘The man, the man, the armed man, the armed man, the armed man should be feared, should be feared. Everywhere it has been proclaimed, that each man shall arm himself, with a coat of iron mail.’ As chainmail is so heavily referenced, I decided to start with this. I went to the National Army Museum in Chelsea and looked at different kinds of uniform and armour, but found most of it was too contemporary for this piece, although much of it was of use for later sections of the scroll. I then went to the Wallace Collection, also in London, and looked particularly at the European armour and chainmail. I drew some examples and wrote notes about which types were particularly useful for the design I wanted to create, so I looked at the 4-1 method of chainmail manufacture, as it was used closest to the time of the song, and also looks aesthetically pleasing. From the 14th century onwards, rivets were used so that the structure of the mail is strong, enabling it to stand the blows of swords and arrows. The repetitive structure of the chainmail links well to the music, as it is a repeated melody. The actual score of the music has repeated motifs, the notes are equidistant and follow a pattern. This instantly made me look into print making, in order to achieve the effect of chainmail and demonstrate my understanding of rhythm in the composition and the music. I also looked into Morse code as this is a typical ‘language’ associated with warfare. However, I found that circles of chainmail was more effective to use when printing. I measured my section of the scroll and found that in order to have a successful pattern, I needed to have each circle roughly 1 inch diameter and a half drop pattern, fitting in with the 4-1 pattern of chainmail. I also used imagery from a famous World War One photograph, showing exhausted soldiers walking in a line. I chose to show just their silhouettes, and to rip the paper to show the damage war has inflicted on them, and to contrast with the cleaner prints of the chainmail.
SECTION 2: Adhaan
This piece is the Islamic call to prayer, or Adhaan, sang by a Muezzin soloist. My choir performed this in a church, which gave an interesting contrast to the traditional Christian architecture and imagery, by having this beautiful Arabic voice praising Allah. I went to the V&A museum in London to look at the screens and tiles on display, focusing mainly on geometric repeating patterns. I happened to discover the Jameel Prize exhibition on my way out, which is a collection of modern Islamic art, often inspired by more traditional pieces. One piece was an installation looking at a prayer’s soundwaves, and how the sound looks when printed out. Another looked like a huge, moving machine made up of many different pieces of calligraphy arranged in circles. I found these pieces extremely influential to my work, and used both traditional and contemporary research to develop my own pattern and design for this section. Also, in the summer, I went to an exhibition in Amsterdam on Escher and his works relationship with Islamic art. I found one particular screen that I felt captured the essence of war; the pattern is beautiful, yet the shape used could be seen as an axe, a hammer or another weapon. I tried to replicate the pattern using graph paper, like Islamic architects used when designing their patterns, then used stencil card, string blocks and tracing paper to transfer the design onto the scroll. I also used a photo of a typical Islamic skyline to break up the pattern, and give a border to the two tones used; a sandy earth colour, and grey scale.
SECTION 3: Kyrie
Kyrie refers to a lamp lighting ceremony in Jerusalem, so I decided to look at effects of dark and light in contrast. I used ink, paint and charcoal for the dark, and wax, paint and bleach for the light. It reminded me of a quote from Anne Frank, ‘look how this candle both defies and defines the darkness’, which I thought summarises this section perfectly. You cannot have light without dark, just as you cannot have peace without war. This piece is probably the most influenced by my mark making drawings of the music. The direction for the piece is ‘compassionate, pitying’, and I wanted to reflect this in my work. ‘Kyrie eleison’ (lord, have mercy) is the main repeated phrase, which I found had a particular set of marks in my drawing, so I used these lines to represent each time the phrase is sang. When at the V&A I noticed a display highlighting the similarities in a sun motif between a catholic priests robe and an Islamic pattern. I wanted to show that my motif was similar to written Arabic, particularly to the call of prayer. This links Islam and Catholicism in my work, also as the two sections are next to each other. Impressionism was the style I was aiming to reference, as the music is blurred and beautiful, and I wanted to suggest a feeling, rather than state one. Debussy’s view on impressionist music supports my ideas, as he used chords for the colours, and harmonies for tone. Music and art are the same thing, just using different words.
SECTION 4: Save Me From Bloody Men
This piece uses text from the Book of Psalms, documenting a plea for God’s help. The piece is sung in the style of a Gregorian Chant, so all male voices (TB) and no orchestra. It is extremely powerful and sounds incredible in a church, as it echoes and creates a feeling of menace and foreboding. The percussion beat at the end made a lot of people jump when we performed it, as it’s incredibly loud and sudden, like a gunshot. I wanted to focus on this key moment, so I looked at William Klein’s Tokyo series of a boxer punching a wall with paint. I wanted to recreate this violence, so made myself a boxing/paint brush, and experimented by listening to the track and punching the wall on the drum beat. I used lots of paint on the glove to give a spattering effect, to show the echo of the music, but also of war. War is not a single clean battle, it is the echoes of conflict that continue the destruction. I used my mark making to describe the voices singing, and found that sharp lines and square shapes worked best for the rich, low tone of the music. It also reminded me of morse code, so I combined some words in code into the marks. I wanted to find a way of incorporating the punch, so I used fragile tissue paper as an overlay. This is in contrast to the strong, thick lines and large punch mark.
SECTION 5: Sanctus
This piece is also a part of the traditional Catholic mass, but uses a repeating bass line of ‘Sanctus’ (Holy) as a beat, giving it an ever more sinister and menacing feel as the music goes on. For this reason, I decided to use red paint sparingly at the left side, then more frequently and finally culminating in a frenzy of slashes and spatters. To reference the Catholic roots, I decided to observe church spires, both locally and worldwide, as traditionally these were very high to link God and the congregation, or heaven and earth. This also links to the line ‘Hosannah in excelsis’ which is sudden, loud and high pitched, especially in the part I sing as I am a first soprano. I used very careful observations of church spires and towers to the left, then gradually getting more fractured and shattered as the piece goes on. Both the music and art get steadily more sinister and abstract, giving a sense of unease to the viewer, and suggesting that battle is imminent.
SECTION 6: Hymn Before Action
The text from this piece is taken from the first two stanzas of Rudyard Kiplings poem of the same title. The words conjure a lot of imagery surrounding war, preparing for battle and patriarchy. The last line, ‘lord grant us strength to die’ is repeated three times, highlighting the plea and linking to the previous piece, ‘Save Us From Bloody Men’. I have been inspired by ‘The Book Thief’ by Markus Zusak, in which Death, the narrator, describes his experience of war. This book has been very influential, as its descriptions use colour and strong imagery to describe war, rather than conventional writing techniques, for example, ‘A single hour can consist of thousands of different colors. Waxy yellows, cloud-spat blues. Murky darknesses. In my line of work, I make it a point to notice them. ‘ I wanted my work to give a similar effect; not using figurative studies, instead creating a feeling using colours and shapes. I went to the Wallace Collection and looked at mostly Iranian, Indian and European daggers and swords, both functional and ceremonial. I drew some of these, and found the detail used on these horrific weapons to be incredibly intricate, which caused a juxtaposition of creation and destruction on the same object. There was even a gun, beautifully carved with inlay of gold, pearl and coral, which had a small detail on the barrel of a couple having sexual intercourse. I felt this shocking contrast was important to explore in my work, so experimented by using destructive techniques to create art. Destruction is creation. After all, a drawing is a destroyed pencil and paper. I used a white background of acrylic paint to give a base to this section, as I wanted a greater contrast between black and white, war and peace. I simplified the intricate swords into simpler shapes suitable for printing, and cut stencils. I used black and crimson to symbolise blood, giving the viewer a sense of foreboding about the next section.\
SECTION 7: Charge!
I chose to use this piece of music for my final piece because it is central to the message of the music. It is the 7th in 13 songs, so in the middle, and is also the longest and most dramatic. It covers the lead up to battle, preparations and arming, and then the charge, increasing in tempo and volume until 8 drum beats, then a crescendo of screaming. The direction in the music score has no notes; just a written description, ‘sing any notes and randomly gliss. up & down until ‘J’, then hold. Breathe individually as necessary. Convey horror.’ Jenkins culminates this section with an ffff direction for all voices and instruments- very very loud. Then, a roughly 30 second long silence gives time for the audience to reflect, and the echoes to die down. A lone bugler plays ‘The Last Post’ offstage. I left a large space of blank wood to symbolise the silence, then interpreted The Last Post into small black marks around the edge.The other side features camouflage typically used by the French in the Somme in the First World War. Continuing on this theme, I researched the trenches and incorporated a map of Flanders into the left side. This emotionally harrowing piece struck me as something that was not contained in the bounds of the scroll, and therefore I decided to use a larger piece to convey the emotion, horror and overall power that this piece has. I chose a circle because it remarks on the fact that war and peace are a never ending cycle, and that you cannot have one without the other. I also wanted it to look similar to some of the weapons I have been researching, chiefly the shields in the Wallace collection. I noticed that a great deal of them had large spikes pushing out from the centre. From the side, these were sharp and but not particularly menacing; yet from the front on, it seemed that the spike was coming directly at you, giving an extremely threatening feel. I wanted to recreate this feeling of terror when something is advancing straight for you, and so made my own spike for the centre of my shield. I chose a particular shape when creating it, to reference how a crescendo is written in music (<) as this piece continually gets louder towards the climax. I experimented with the Ready Morse method typography to write ‘Charge’ on the spike, and used photograms to capture it. I felt this was appropriate because a photogram switches black and white, light and dark, just as war turns everything on its head. I want the viewer to feel frightened, confused and like they are in the middle of the conflict. For this reason, I chose to incorporate a broken mirror into my design, as the viewer will move along the scroll, feeling somewhat separate from the action, as none of this horror happened in their life. Then, at eye level, a broken mirror puts them directly inside the artwork, and they see that anyone can be affected by war. I broke it because I wanted to explore violence in creation, and the act of smashing something creates a new effect. It also means that the viewer may not initially recognise themselves in the reflection, as they are distorted and manipulated, similar to wars effect on people and nature. Broken mirrors were also used by a group of rebel fighters, The West Side Boys, in the Sierra Leone conflict. They used the mirrors to deflect attention from their positions and confuse the enemy. Additionally, I want to remind people that war is not something separate to humans; it is started, fought and ended by us. Yet the effects of war render us dehumanised. As Death, the narrator of The Book Thief remarks, ‘A small but noteworthy note. I've seen so many young men over the years who think they're running at other young men. They are not. They are running at me.’
SECTION 8: Angry Flames
Angry flames was written by Sankichi Toge, who survived the Hiroshima bombings. It documents the destruction he saw, and his feelings. I have always been interested in photojournalism, particularly work by Don McCullin, so decided to research more photos like his. I focused mainly on black and white ones, and most importantly, images that told a story. I compiled all these images using pinterest (www.pinterest.com/pshelleysmith/the-armed-man/ ) and used emulsion printing to capture these on my scroll. This printing technique symbolises the strange effect that the atomic blast had on humans; it would cast a sort of black shadow of their form onto the ground, wherever they fell, as the heat of the explosion was so great. I chose to use white paint to capture the images to contrast with this horrific phenomenon, photographs of this can be seen on my pinterest board. I then used charcoal, as it is burnt wood, to draw a mushroom cloud over the images, and chalk to create highlights. When standing back, the full mushroom cloud is visible, and when up close, the photographs come into focus. This is similar to how the bomb was created; it was designed to destruct, but the true horror is only visible when up close. Photojournalism is the bridge between the victims and the public, just as my work is a bridge between music and art. I also wanted the photos incorporated in my piece to create a sort of memorial to the suffering that was endured in the lead up to each photo, during, and afterwards; not just the subject of the photo but also the photographer, who is often forgotten. A great many journalists risk and sometimes lose their lives to report on conflict.
SECTION 9: Torches
This piece has text taken from the Mahabharata, an Indian epic narrative thought to date back to 400BC. It is the longest poem ever written, and documents the conflict of the Kurukshetra War and the fates of the Kaurava and the Pandava princes. This particular section describes animals and humans fleeing from a fire. At the Wallace Collection, I looked at a great deal of armour, particularly European. The helmets were intimidating and dehumanising, showing only a glimpse of eyes beneath a towering mass of metal. They were often distorted and given sharp points and exaggerated features to scare the enemy. Horses were also concealed in this way, given horns or tusks perhaps as weapons, or just decoration. I read poetry documenting the First World War, particularly poems by Wilfred Owen and Siegfried Sassoon. One poem, Mental Cases, compares the soldiers to animals, ‘Drooping tongues from jaws that slob their relish, Baring teeth that leer like skulls' tongues wicked’ I found this poem extremely powerful and hard hitting, as it shows that war is not a human affair. Therefore I developed unhuman, monstrous creatures to show a more abstract vision of war and destruction, inspired by the helmets, poems and work by Francis Bacon. Another piece that influenced this decision is Guernica by Picasso. The scale of the work is colossal, and must be intimidating to view. I wanted to capture this feeling of discomfort when viewing something truly horrific. I again used charcoal, as it is living flesh destroyed by fire. The majority of this piece of music seems fairly bland in comparison to the other sections; it uses a fairly regular rhythm, and emphasises a few of the phrases, with alto and soprano dominant and occasional use of all four parts. However, at the end, percussion and an ff direction causes the repetition of ‘torches’ to shock the audience. In a way, the slow, chanting rhythm of the rest of the piece bares a contrast to these last few bars, and makes it seem more horrific. A Hindu method of storytelling is to remain completely detached from the story, and let the words speak for themselves. Perhaps Jenkins was using this technique to emphasise the horror.
SECTION 10: Agnus Dei
This piece is also based on the traditional catholic mass, where Agnus Dei translates to ‘Lamb of God’. I decided to look at influential figures and words of war, from both sides as it were, so ranging from Hitler to Anne Frank, Gandhi, Churchill, J.F. Kennedy, protesters boards, Wilfred Owen, Vera Brittain, many other war poems, songs, films and books, and even biblical passages. I separated these by having the more destructive, pro war quotes on the left, towards the destruction, and the positive, pacifist ones on the right. I see this section of music as the turning point in the piece, as it begins to introduce a more positive sound, and soft, lilting melody. It reminded me of rivers or the sea, and the marks I made while listening to it also had this look of ripples and swirls. Therefore, I grouped the text in a similar way, sketching out first then filling in the quotes. They do not all read perfectly in order, as I chose to mix them up slightly. This has the effect of showing that after war, even though the right intentions are there, the world is forever in turmoil, and the order of peace cannot be restored.
SECTION 11: Now The Guns Have Stopped
The lyrics of this piece were written by Guy Wilson, the master of the Royal Armouries museum, as part of a display on the guilt that was felt by surviving soldiers of WW1. It reminded me of the poetry I had studied from the First World War, and I decided to find out more about this time. I researched uniforms, cap badges, gas masks and memoirs, particularly English ones about guilt and grief. I felt the most powerful imagery of this time was the mass graves in France and Belgium, the rows of white crosses. I decided to draw these recognisable symbols, but do so in a style that was rough and free, rather than perfectly measured crosses. I experimented ways of creating these iconic crosses using a variety of media; I used masking tape, masking fluid and wax to leave areas white, and then a black ink wash, and finally white acrylic paint and bleach to reveal sections. The bleach reacted with the paint to give a rusty red colour, reminding the viewer of blood. The dark ink gives a stark contrast to the sections either side of it, and makes the crosses seem even brighter. Appropriately, this is the 11th section of the music and my artwork.
SECTION 12: Benedictus
This piece starts with a long and stunningly beautiful cello solo, with a repeating melody that the choir sings later. However, it also has a sad undertone, specifically when the choir sings ‘Hosanna in Excelsis’. I went to a talk hosted by the Royal British Legion to draw, which had three speakers; a Naval officer from the Cold War, an intelligence worker responsible for electronic CSAR units (combat search and rescue) used from the Vietnamese war up to today’s conflict in Afghanistan. The last speaker impacted me the most, as he was a rear gunner in the RAF. He was 94, yet stood for the duration of his speech, and told many jokes, despite his difficult subject matter. He described his training and first operations, and how he signed up; he went to the registry office, gave his true age, 17, to the officer. The officer told him to walk outside and try again. He came back, said he was 19, and was immediately accepted. I drew him as he spoke, and the sketch that is most poignant in my opinion is the one when he was speaking about the death of his childhood best friend, and his feeling of guilt that he would come home to his family, while at his friend’s house, there would be a feeling of emptiness. His eyes started to water at this point, even after 70 odd years. I felt my drawing captured the beauty and sadness of this piece, and so scaled up and developed the sketch for the final draft of the scroll.
SECTION 13: Better Is Peace
The final piece is a reprise of L’Homme Armé, but is in a major key, giving a more positive sound. The lyrics are sometimes replaced with ‘better is peace than always war’, and the piece is sung by soloists and choir SATB. I chose to look at traditional symbols of peace, particularly the dove, as this is used as the album artwork and on posters relating to the music. I looked at symbolism of birds flying upwards to indicate peace, positivity and happiness, and a bird flying down being a bad omen for war, death and destruction. I therefore decided to draw birds. Unfortunately, while I was studying birds, perhaps as another strange moment of fate, my mum ran over a pure white pigeon (by accident). We took it home and I photographed and drew this beautiful and tragic creature, and developed my idea of having two birds in the image; one to the left, dead and seemingly flying down, to indicate the death and destruction that my piece has journeyed through, and a second bird to the right, flying upwards in a burst of light to symbolise the new hope for peace expressed through the lyrics. Between the two, I decided to give a reprise of the chainmail print from the first section, like the reprise in the music, but this time printed using very light grey and pure white. Additionally, I included the marks I made when listening to the piece, this time done in a white oily pencil. The second part of this piece, ‘God shall wipe away all tears…’ strips back the orchestra for the choir to sing a capella in beautiful harmonies. For our performance, the orchestra joined in to sing with us. In the music score, there is an optional solo part at the very end of this piece for the soprano soloist. The official The Armed Man CD does not include this last note, but in our performance, the soloist decided to do it. It is right at the very end, when all other parts gradually fall into a beautiful harmony, one voice soars above the rest, a very pure and high note. This reminded me of the dove flying upwards, and I wanted to recreate this ascent, perhaps to heaven, to peace, and to hope.
November 20 prompt: Hobby other than dolls or needlework. I picked journaling even though it's really an on and off thing for me. I love it when I'm journaling, but then I go months without picking it up.
Notes: The jeep looks like a CJ 3B with the higher grill from 1953 to accommodate the larger engine.
The Land Rover is a Series 2 LWB, possibly a 2A pre-1968, after which the headlights were relocated to the wings / front mudguards. To the left is the corner of the former Bushfire Control centre at BMCC HQ.
Format: Colour slide
Licensing: Attribution, share alike, creative commons.
Repository: Blue Mountains Library library.bmcc.nsw.gov.au
Part of: Local Studies Collection
Provenance: Blue Mountains City Council Publicity files
Date Range: 1972
Links: en.wikipedia.org/wiki/Jeep_CJ
A love note found within a copy of "The Female Eunuch" I bought at a thrift store. The note looks to be over a decade old, and possibly up to three decades old.
I can't believe she took the time to write this, fold it, put it in a
plastic bag to protect it from the rain, and then taped the bag so it
was the same size as the note. This from the lady who parked in the
same spot a few weeks ago, preventing us from using our paid parking
spot.
PS. Morgan's car wasn't even blocking her "walkway." A 400lb man with
a fanny pack could've squeezed through without a problem.
from ift.tt/1CS0Ktr You have spent years taking notes in class right? But have you ever stopped and thought, “is this note taking strategy the right one for me”? Take a moment to reflect on your note taking strategies and figure out whether there are improvements that can be made to make your… Read More
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From Evernote:
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(Note: These videos were taken far before the COVID-19 pandemic. To protect ourselves and our community we stay home except when absolutely necessary or for short walks away from other people!)
A 50 pound note being cut in half
Like much of our work, we have put all these images in the public domain. Feel free to use them but please credit out site as the source if you do: TaxRebate.org.uk
PA030367. Photo:. Moyie Valley Ranch near Bonner's Ferry, Idaho. Fall has come!
A Bike tour From Portland (Troutdale) to Bonner's Ferry, Idaho. Eleven days of riding 530 miles (plus 40 miles of hitching). The return was made on the Empire Builder Amtrak train at Sandpoint, ID.
For the tour Matt and Carye bought new custom built Bike Friday (www.bikefriday.com) folding bikes that are made in Eugene, Oregon. Neither Carye or Matt own cars, so investing in a reliable, flexible bike for travel was important. However the bikes arrived two days before leaving, so getting used to new bikes while on the road, was literally a pain in the butt! By the end of the trip, gears, seat and handle bar placement, and proper riding shoes were figured out. Everyday of the ride had awesome weather (not too hot, not rainy), and Carye and Matt met many friendly people, ate as much pizza and icecream as desired, and enjoyed some beautiful scenery (though Washington wheat fields get dull to the eyes after 20 miles). The fourth day brought bad luck - 4 flats (at once!) caused by Goathead thorns, and wind in the face most the day. Also a family of earwigs hitched a ride in C & M's camping gear, and it took about a week to finally see the last one. Idaho is a cyclist paradise (what a secret). From The State Border near Coere D'Alene to just before Bonner's Ferry, there were many bike paths, nice scenery, and most flat routes.
Day 1:Troutdale to Hood River (55.6 miles)
Highlights: Gorgeous Columbia River (Get the bike map from ODOT). Ride to Council Crest, Ride by Falls, bike-ped paths on the old historic highway.
The campground listed on the bike map for Hood River was not there. We decided to treat ourselves and stayed at the Hood River downtown hotel. Hood River is a super nice town - though sad the Carousel Art Museum is closed and moving elsewhere. Also on this route, between Cascade Locks and Wyeth, do not take the Wyeth Bench Rd (aka Herman Creek Rd), it is a horrible grade hill, and you are better off taking the I-84. Note about I-84, it's not the most pleasant experience, but it's not bad, In order to bike to Hood River, you will need to get on I-84 at several points - The shoulder is pretty wide at most places, and it's a good idea to wear some bright orange!
Day 2: Hood River to Maryhill, WA (52.5 miles)
Highlights: The old historic highway section is really neat: it goes through the Mosier Tunnels (now just for ped/bike), The section through Mosier town, and to Rowena's Crest was on low traffic streets. No need to get on I-84 at all all the way to the Dalles.
The crossing over to Washington on the bridge in the Dalles was difficult. It was so windy and the sidewalk so narrow we had to walk. Biking to hwy 14 across the wind was also difficult. But once on hwy 14 heading East, the wind was at our bikes, and we cruised past the Maryhill Museum (Too late in the day to stop!) and stayed at the Maryhill State Park (back down by the river).
Day 3: Maryhill to Crow Butte (58.2 miles)
Highlights: Cruising sometimes 20 miles an hour easily with the wind at our back on Hwy 14. Lovely more deserty scenery, waving to trains. A Stop at Stonehenge.
From the campground, we hitched a ride in a pickup back up the top of the hill to hwy 14. The road was a major truck route, and the shoulder was pretty much missing for the first section of the hill, we decided htiching was the safest option. We enjoyed stopping at America's Stonehenge. I had been there before, but never thought I'd bike all the way! Crow Butte park was father than we thought. We could see it, but then had to ride about 4 miles all the way around and out to it. The RV park was expensive, and did not offer "primitive camper" sites.
Day 4: Crow Butte, WA to Hat Rock Park, OR
Highlights: Early morning hike past deer to the top of Crow Butte. Discovering the way over the I-82 - there is a bike route, but you need to go on the may freeway before the bike route appears, then you exit, cross under and go over on the otherside. Umatilla was nice little town to check out. At first we were excited about the Lewis & Clark Bike/Ped Bath, but it turned into a bad situation.
The wind in the gorge changed from E to W today, so we had to push hard for 20 miles, going about 5-8 miles an hour. Very hard reality after the day before. The road moved away from the Gorge and was now less interesting. Onion (Walla Walla) trucks passed us all day, leaving onion skin trails. We crossed back to Oregon, and instead of the main road decided to follow the Lewis & Clark trail to Hat Rock State Park. Unfortunately it turned into a bad idea. The path was badly marked and kept changing from paved to shared road, to bark-dirt to gravel. After a gravel section we discovered that we had rode through thorns and had 4 flats at once. We pulled out 15-30 thorns and only had two new tubes, One tube needed to be patched 7 times. We were able to ride out to the main road and hitched a ride with a priest. The State park had a commercial RV park that we stayed at.
Day 5: Hat Rock to Walla Walla, WA (25 miles + 23 miles hitched
Highlights: Bicycle Barn in Walla Walla was awesome, they took care of us and our flat saga - and would not charge for labor because we were traveling. Thank you Reggie!! Walla Walla is a lovely town. We also had other nice folks give us lifts throughout the day.
Carye's bike had another flat in the morning. We were able to ride to the turnoff to Walla Walla where we hitched a ride, rode a little, got another flat, then got another ride. Outside Walla Walla we enjoyed an old style soda fountain/gift shop. After the afternoon in the Bike Barn - with goo in the tires to prevent anymore more thorn flats, C & M were good to go, and eager to eat an entire pizza in town. There was on camping nearby, so the Travelodge motel allowed some "free" hot showers.
Day 6: Walla Walla to Central Ferry, WA (57 miles + 10 hitched)
Highlights: Nice Campfire at a nice state park (Central Ferry)
The ride today was tough, Carye's body was tired of the bike and wanted a rest, The first part of the day was okay, but after Dalton, the ride was never ending (according to Carye) At Dodge, it was getting dark within 45 min, and with 10 miles to go, C & M hitched the rest of the way to the park.
Day 7: Central Ferry to Colfax (36.6 miles - lots of hills)
Highlights: Arriving at our destination in the early afternoon, Staying on Lisa and Mike's lawn, Top Notch eatery.
While a short day mile-wise, the wheat country hills were never ending. We started the day with 7 miles going uphill. In Dixie we stopped at garage sales. In Waitsburg (cutest town ever) we had icecream shakes and got free cucumbers from the antique shop. We were going to stay at a motel in Colfax (at first look , doesn't seem like a nice town, but it grows on you!), but before we did, we met Lisa and Mike outside the city park, and they invited us to camp on their lawn. Lake Oswego transplants with two small children they loved meeting Portland travelers. They knew about Bike Friday, and Mike does a lot of long distance biking as well. For dinner we highly entertained at the Top Notch Diner, where the 17 year-old host/waiter was hilarious, and amused us. We had more icecream!
Day 8: Colfax to Spokane (61.3 miles)
Highlight: Knowing that the next day we would have a day off (finally!)
This was a long hard day as well. Everyone we talked to said said the drive was pretty with rolling farmland hills. Yeah - if you are in a car. The hills were long, and not rolling, and the scenery was yellow wheat fields. Though we did enjoy watching a fox running around. Carye's cousins live in Spokane - at the top of the hill of course. Washing laundry, showers, and hanging with family was fabulous. Also was glad to not hitch finally.
Day 9: Spokane - No bikes whatso ever
Day 10: Spokane to Coure D'Alene Idaho (52. 1 miles)
Highlights: Ride down the hill to the giant Red Wagon slide in Downtown Spokane. Bike paths all the way baby! Riding 10 miles with a German-american recreational cyclist.
Today we travelled via the Centennial Bike Path (40 miles from Spokane toC D'A Idaho). However the path on the Washington side is badly marked, and we travelled 6 miles out our way since the first section is on the road with little signage. If anyone is taking this trail please inquire on how NOT to miss your turn - it's really not obvious. After we got back on again we enjoyed riding along with a nice German-american woman to the Idaho State visitor center. At lunch at the center Carye had a freak bee sting on her cheek. The bike path continuing into Idaho was very well signed and marked and paved. Coeur D' Alene was a nice town - with a boring shopping street (Sherman Ave). We stayed at the Tamarack RV park, that literally is a mini forest now surrounded by bigbox stores. The RV park is more of a monthly rental kind of place, with no real camping. There was one tiny patch of grass next to the dumpster that we rented for the night for a mere $25!
Day 11: Coeur D' Alene to Round Lake State Park, ID ( 37.1 miles)
Highlights: Bike Path along US 95 for part of the way out of town, and an early arrival to a really nice, real forest campground for only $12 a night with FREE warm showers.
We had a short set back in the AM, Matt biked over a screw, so we had to stop to fix the flat. Wonderful nice flat bike ride all day. Arrived early enough at the campsite that we could take a hike around the lake, and make food not in the dark. We were one of three others camping in the park, unfortunately one guy was a little creepy, and scared the crap out of Carye. The quiet and solitude did not help.
Day 12: Round Lake Park to Bonner's Ferry, ID
Highlights: Another bike path from where we camped to Sandpoint, ID. We finished our journey all in one piece!!
The old bridge into Sandpoint has been turned into a bike/ped path. I was so wide! We stopped in Sandpoint to check out the amtrak train station, (on a dirt road on th outskirts - strange!) and bought Idaho souvenirs. The ride to Bonner's Ferry was also easy and Flat except for one long hill at the end. We met another long distance traveller heading West from Fargo, ND. We had pizza for lunch AND for dinner on our celebratory day. In Bonner's Ferry our Idaho hosts Linda and Ben picked us to take us to Moyie Valley Ranch, 8 miles from the Canadian Border.
We spent 5 days on the ranch, and it rained pretty much the whole time, so we never did bike over the Canadian Border! Shoot! But we made friends with the Cows, Sheep, and Horses, and started a Cob Oven project (although only the foundation got finished) and experienced a highschool reunion party for Ben and Linda's eldest daughter.
On our final day of our trip We folded our bikes into our canvas bags, and took the train from SandPoint (leaving at midnight) all the way back to Portland, in one day!
note to self: save some bucks ... do the math
second note to self: remember your fondness for black and white
Samsung Galaxy Note has a brilliant 5.3 (~285 ppi pixel density) inch Super AMOLED capacitive touchscreen with resolution of 800 x 1280 pixels and 16M colors combination. It has a superb 8 MP camera with resolution of 3264x2448 pixels having features LED flash, autofocus, Face Detection, Geo Tagging, and also a secondry 2 MP. It runs on a Dual-core 1.4GHz ARM Cortex-A9 proccessor, Mali-400MP GPU, Exynos chipset and 1 RAM internal memory is 16 with 32 external memory Support. It supports all major connectivity options like Bluetooth, GPRS, EDGE, WLAN, 3G with HSDPA, 21 Mbps; HSUPA, 5.76 Mbps. It also supports Organizer, Digital compass, Proximity sensor for auto turn-off features. Samsung Galaxy Note available in Black colour.
Note on reverse (below). Photogr. R. Schuttringer-Olivier, Liège.
"A memento of the campaign in Lüttich. Unteroffizier Gg. Kellner, Erlanger Landsturm Bataillon 4. Komp."
_____________________________________________
Notes:
III Kgl. Bayerisches AK. Bayreuth / Hof / Ansbach / Erlangen / Nürnberg / Weiden
A posted note left by my fiancee on my window before she left for her parent's home 3500 miles away.
NK 1505 A4 1964
In the first part of the book, Mr. Alexander discusses the process by which a form is adapted to the context of human needs and demands that has called it into being. He shows that such an adaptive process will be successful only if it proceeds piecemeal instead of all at once. In the second part, Mr. Alexander presents a method by which the designer may bring his full creative imagination into play, and yet avoid the traps of irrelevant preconception. He shows that, whenever a problem is stated, it is possible to ignore existing concepts and to create new concepts, out of the structure of the problem itself, which do correspond correctly to what he calls the subsystems of the adaptive process. By treating each of these subsystems as a separate subproblem, the designer can translate the new concepts into form. The form, because of the process, will be well-adapted to its context, non-arbitrary, and correct.
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From Evernote:
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The Sewing Time Machine: A blouse named 'Secretary001'
The Sewing Time MachineWednesday, January 27, 2010A blouse named 'Secretary001'Here is my next project, or the inspiration for my next project. I'm no expert on the matter but this reminds me of a 40's pencil pushing office blouse, which is why I named it Secretary001.It looks to me like all the control has been shifted into side darts which were then gathered into the side seams. The sleeve looks like a very short kimono or dolman. Anyways, I got to work on the PatternMaster and this is my first muslin.
I'm not happy because I look like a bag lady!
So I learned that when zero waist darts are selected, the slack is not picked up anywhere else - not in the side seam and not in other darts. I'll have to manually shift all the control into the side dart. And that will be my second muslin....Posted by Marie-Anne at 6:28 PMLabels: blouse, fitting, PatternMaster Boutique0 comments:Post a CommentNewer Post Older Post HomeSubscribe to: Post Comments (Atom)PagesHomeAbout MeMarie-AnneWhen I'm not cleaning, cooking, or working, I'm going back in time....with my sewing machine!View my complete profileThis WeekChris' jacket is lined and it looks great. He has a motorcycle ride this coming weekend and he is so excited to show it off.
The surprise will be revealed next week. We'll see....I'm super busy with work. But not for long....
Now I've got to finish fitting my jeans so I can make sexy pants!Labelsantiques (1) Barrence Whitfield (1) blouse (4) Canada (1) Candace Sutherland (1) cooking (2) Crazy Joe (1) crotch length (6) curlers (1) Deke Dickerson (1) diet (1) dress (3) exercise (1) fitting (18) fundraiser (1) garage sale (1) giveaway (6) hair (2) half moon manicure (1) homemaking (2) Hourcast (1) Howlin' Hound Dogs (1) jacket lining (1) jeans (5) Jordan Officer (1) Kingston (1) lapped zipper (1) lining (1) Little Rachel (1) meal planning (2) motorcycle jacket (1) organization (1) outfit (1) pants (3) pants fitting (5) Pattern Master Boutique (1) PatternMaster Boutique (15) Red Hot and Blue Rockabilly Weekend (1) shirring (1) shoulder pad (1) Singer 217 (1) Singer Spartan (1) skirt (3) Sound Academy (1) straight skirt (4) Tennessee Voodoo Coupe (1) The Broken Toys (1) The Damned Things (1) The Royal Crowns (1) tutorial (1) Valentine (3) vintage (7) vintage knitting (1) vintage patterns (1) Volbeat (1) wet set (1) wing bust bodice (2)Search This Blogpowered byShare itTunesMusic Playlist at MixPod.comBlog Archive► 2011 (17)▼ 2010 (47)► December (2)► November (7)► October (3)► September (11)► July (2)► June (5)► May (3)► April (2)► March (5)► February (3)▼ January (4)Shrinky Inky's Fine Adventures GiveawaySecretary001, the second muslin...A blouse named 'Secretary001'The finished skirt!► 2009 (5)Listen to sewingtimemachines Playlist Simple template. Template images by Ollustrator. Powered by Blogger.
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