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The Both respirator, also known as the Both Portable Cabinet Respirator, was a negative pressure ventilator (more commonly known as an "iron lung") invented by Edward Both in 1937. Made from plywood, the respirator was an affordable alternative to the more expensive designs that had been used prior to its development, and accordingly came into common usage in Australia. More widespread use emerged during the 1940s and 1950s, when the Both respirator was offered free of charge to Commonwealth hospitals by William Morris.
Development[edit]
In 1937 Australia faced a poliomyelitis (polio) epidemic.[1] At the time iron lungs provided one of the main methods of treating the "paralytic breathing failures" that were a complication of the illness. Although tank respirators had been developed earlier, the iron lung itself was still fairly new, having been designed by Philip Drinker and Louis Agassiz Shaw in 1928.[2] Their design, which became known as a "Drinker's" or, due to its construction, an "iron lung", proved to be an effective means of prolonging the life of patients suffering from poliomyelitis – although the first person to be treated in the ventilator died after two days from cardiac failure possibly related to pneumonia, the second patient recovered after spending two weeks in the machine.[3] However, in Australia the widespread use of the Drinkers was hampered by a number of factors, most notably cost, the heavy construction of the device, and the need to ship the device to the United States for servicing, and thus there were few of the devices in the country.[1]
Thus Adelaide inventor Edward Both was approached in the hope that he could provide an alternative to meet the demand brought on by the epidemic. Both ran Both Equipment Limited with his brother Donald, and had previously developed medical apparatus. It took but a few weeks for the pair to create their own iron lung, which they named the "Both portable cabinet respirator". Unlike the Drinker's machine, the Both respirator was made from plywood (even though it continued to be referred to as an "iron" lung), and this both kept the price down and made it more portable. The Both device cost only £100, was portable due to its light weight and the addition of wheels, and was simple enough that hospitals could build their own in their workshops, and thus it soon proved to be a success.[1] The portability also opened up other possibilities, and as a result people who needed extended assistance from the device were able to use one in their private residences: indeed, in 2003 there were still five privately owned Both respirators being used in residences within Victoria.
Both and Nuffield[edit]
A Both respirator on display at the National Museum of Australia
In 1938 Edward Both traveled to England to sell an electrocardiograph which he had invented.[1] While there he heard over BBC Radio a request for an iron lung to help treat a young patient residing in a country hospital.[5] Responding to the call, Both hired a workshop and assembled one of his designs within 24 hours, and the Both respirator was able to quickly gain the approval of the London County Council. Subsequently he built more of the respirators during his stay, and one was sent to the Nuffield Department of Anaesthetics at the Radcliffe Infirmary where a short film was made of the device. This film was subsequently shown to William Morris (Lord Nuffield) by Robert Macintosh, the department's Professor. Nuffield was known as the manufacturer of the Morris motor car as well as a philanthropist.[1]
Nuffield was taken by the design, and in November of that year he offered to turn over part of his car factory for the manufacture of the Both respirators, and to provide the respirators free of charge to any hospital in the Commonwealth that requested one.[1] In spite of some initial opposition – Nuffield was criticized in the British Medical Journal by Frederick Menzies for using a design before the iron lung had been perfected, and for supplying it to hospitals which may lack the knowledge as to how to employ it[6] – over 1700 Both-Nuffield respirators were distributed to hospitals.[1] By the early 1950s, for example, there were over 700 Both-Nuffield iron lungs in the United Kingdom, compared with only 50 Drinker's models.
en.wikipedia.org/wiki/Both_respirator
When William Morris, the multimillionaire philanthropist and founder of Morris Motors, died 50 years ago, he left a fortune but no heir. Those were days of greater discretion, so we don't know why Lord and Lady Nuffield never had children. But we do know he would have liked to: visiting a mother and baby in the 1950s, he sighed: "I would have given all my millions for one of those."
The pathos of that sentiment hangs in the air at Nuffield Place, his Oxfordshire country home, now open to the public as a 1930s time warp. A handsome Lutyens-style mansion on the edge of the Chilterns, it was built in 1914 and bought and modernised by the Nuffields in 1933. On Morris's death on 22 August 1963, he left it to Nuffield College in Oxford (which he founded in 1937), stipulating that the house remain intact. Over the years, the college has sold off chunks of his estate, including two farms and a pub, and the house's future was in doubt until, last year, they gave it to the National Trust.
Today, the visitor enters a world of Bakelite phones and Dry Sack medium sherry. A sweet smell of tobacco lingers in the oak-panelled billiard room, which, according to one National Trust volunteer, they have piped in. The house was designed by Oswald Partridge Milne, a pupil of Lutyens and fashionable Edwardian architect, but the building isn't really the main attraction. The magic comes from feeling you are entering another period, and penetrating the private home of one of the richest men of the 20th century.
www.independent.co.uk/property/interiors/the-original-mor...
The Postcard
A Wrench Series postcard with an undivided back that was printed in Saxony. The card was posted in London in November 1901, however the stamp has been removed along with the day of posting.
The card was posted to:
The Lady Helen Gordon-Lennox,
49, Belgrave Square,
London.
Helen Percy, Duchess of Northumberland
Helen Percy, Duchess of Northumberland, was born on the 13th. December 1886 as Lady Helen Magdalan Gordon-Lennox, the daughter of Charles Gordon-Lennox, Earl of March and Kinrara (later the 7th. Duke of Richmond).
Lady Helen was a month or so short of her 15th. birthday when she received the postcard.
Helen became Mistress of the Robes to Queen Elizabeth the Queen Mother from 1937 to 1964, and was appointed a Dame Grand Cross of the Royal Victorian Order in 1938.
Helen was married on the 18th. October 1911 to Earl Percy, who succeeded his father as 8th. Duke of Northumberland in 1918, whereupon she became known as the Duchess of Northumberland. The couple had six children:
- Henry George Alan Percy, 9th Duke of Northumberland (born 15th. July 1912, killed in action 21 May 1940).
- Hugh Algernon Percy, 10th Duke of Northumberland (born 6th. April 1914, died 11th. October 1988).
- Lady Elizabeth Ivy Percy (born 25th. May 1916, died 16th. September 2008), married Douglas Douglas-Hamilton, 14th. Duke of Hamilton in 1937.
- Lady Diana Evelyn Percy (born 23rd. November 1917, died 16th. June 1978), married John Egerton, 6th. Duke of Sutherland in 1939 in Westminster Abbey.
- Lord Richard Charles Percy (born 11th. February 1921, died 1989).
- Lord Geoffrey William Percy (born 8th. July 1925, died 4th. December 1984).
The Death of the Duchess of Northumberland
Helen died aged 78 on the 13th. June 1965.
The Shepherd's Chief Mourner
Oil paintings with sentimental scenes of animals became popular in Victorian times.
Sir Edwin Landseer's choice of subject illustrates the Victorian obsession with the trappings of death, combined here with his speciality, the accurate and almost anthropomorphic representation of dogs and other animals.
Its mixture of pathos and realism appealed to all sections of society, and the critic Ruskin praised the fine technique and the subtle choice of details.
The painting was exhibited at the Royal Academy in 1837 and proved a great success, particularly as an engraving of the picture was published and sold widely the following year. The painting now hangs in the Victoria and Albert Museum in London.
Sir Edwin Landseer
Edwin Henry Landseer (1802-1873) was a child prodigy, exhibiting some drawings at the Royal Academy when he was only 13.
From an early age he was a frequent visitor to the menagerie in the Strand, London, where he drew lions, monkeys and other animals. Animals remained the main subjects of his art.
Queen Victoria collected Sir Edwin's paintings. The two biggest collections of his work are in the Royal Collection and in the Victoria and Albert Museum.
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The East Coast thinks it has a monopoly on leaves changing colors, but there are documented cases of this phenomena occurring in over parts of the world. I know this may be hard to believe, so I went out with my camera to grab some proof. I found this bridge near my home and low and behold I did, in fact, find leaves changing colors. How you like them apples?
One of those post WWI memorials, dripping of pathos.
"Unseren im Kriege 1914-18 gefallenen Helden zum ehrenden Gedächtniss.
Und wer den Tod im heiligen Kampfe fand, ruht auch in fremder Erde im Vaterland."
This translates roughly to
To the honouring memory of our fallen heroes of the war 1914-18. Those who died in holy battle, in foreign soil in fatherland lie."
I loved the contrast between the hard stone and blocky letters with the friendly dandelion.
Cemetary in Kiel-Dietrichsdorf
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I got a chance to meet some of the best landscape photographers (Jay Patel, Varina Patel, Patrick Smith) on a photo walk this weekend. We met up at San Gregorio Beach near my house and had a great time trying not to be swept away by the ridiculously strong winds. I got sand in places I don't need sand and just barely managed to not get frost bite, but it fun. This was one of my last shots of the day before I said my goodbyes, jumped in my car and held myself for a while in silence while trying to warm up.
"'Asta Nielsen' means the power to speak of pathos, to see pain, and to find the middle path between Baudelaire's flower of evil and the sick rose of which Blake sang." -M. S. Fonseca in 'The International Dictionary of Films And Filmmakers: Actors and Actresses', 1988.
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I wanted to get a picture of the iconic Golden Gate Bridge at night to show off it's sheer sexiness, so one night my friend and I drove out to the city. It was well past midnight when we parked next to a dark construction site at the end of Crissy Fields. It's usually not a good idea to hang out at a place where a seedy character can jump you with a 2x4 and dump your body in the ocean without going out of his way, but I had Mr. Wang for protection, so all was good. The entire place was pitch dark but I had my pocket flashlight which gave us about ten feet of visibility. We got to the end of the construction site and ducked under a barrier to finally get to this vantage point. Our spidey-senses were at their max because we could not see anyone coming down the path and there was a huge hill overlooking us.
As I carefully setup for the shot, I looked back and saw Mr. Wang waving his extended tripod in a semicircle to ward off any attacks. As I was taking my final long exposure (about 30 seconds), we heard voices coming up from the construction site. When they were about twenty feet away we saw two huge shapes walking towards us but we could not make out if they were friend or foe. I had already mentally played out a scenario in my mind where Mr. Wang, Nikki (my beloved camera) and I ran away in terror but the two big shapes turned out to be a couple taking a romantic walk ... who the hell takes a romantic walk through a construction site in the dark past midnight?! Well, after that we just got a few more quick shots and made our way back to safety.
Instruction #46: "Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
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I like photography because it has so much to do with chance. I was thinking of this little castle in the clouds I saw from the top of Kumbum Stupa in Gyantse. The clouds were perfect, there was a bit of blue and the light was just right to give it a fantastical effect. How was it that I was there at that precise moment when all the elements came together? I think back on that day and all the random little detours and choices that were necessary to get me there. I love floating around with my camera, ready to capture whatever life has planed out for me.
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I am not really into portraits, but every so often, I find someone who looks interesting enough for me to stop them, pay them some RMB and ask them to stand still for a tick so that I may capture their awesomeness. I was hiking around the little mountain villages in the Longsheng rice terraces area of China, when I happened across this fine gentleman. We did not share a common language so I proceeded to pantomime my intentions to take his picture. He tilted his head and raised one bushy eyebrow in consideration before he accepted my offer. I released my inner paparazzi on him for a few seconds and when he was done, he simply turned around and whent about his day as if nothing had happened. I wonder what he thought of the whole experience?
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This collection of photographs was the result of a happy mistake while walking through the Hakone Garden's bamboo forest in Saratoga. I was messing around with my camera on manual mode, trying different angles and motions when I noticed the resulting images resembled impressionist paintings. I liked how the bamboo forest was implied though color, light and movement, so I sat there for a while and tried different things until I got the look I wanted. All of these photographs are single shots with very minor adjustments in Photoshop.
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Not so long ago, I decided to send out my beloved Nikki (Nikon D90 given to me by my wife as an engagement gift) to get modified to only capture infrared light. This decision caused me much distress, but my curiosity won out in the end and I eagerly awaited her return. Would she come back an unrecognizable franken-camera? Would she resent me for adjusting her delicate sensor? When I finally got her back, she didn’t look or feel any different but when I took the first picture I realized she was no longer the Nikki I had learned to shoot with. She was now a highly refined instrument of beauty.
It took me a while to figure out how to work with the raw image, but this is my first infrared photo taken in front of Grace Cathedral in San Francisco. It took me much much longer to process partly because of the new software needed to correct the white balance, and partly because I decided to make my first infrared experiment a night HDR (I am a masochist). Alas, now that I have infrared capabilities you will be seeing more of my crazy experiments in the near future.
Quello che vedo non è mio. Mentre quello che sento in ciò che vedo è mio: la sensazione, il sentimento, l'emozione, l'armonia, il pathos, la ragione, il racconto, l'attimo. Dunque, ciò che fotografo non è mio, mentre è mio ciò che sento in quello che fotografo. È questo "sentire" che voglio comunicare agli altri, condividere, e sarebbe assurdo rinchiuderlo in qualche stupida rivendicazione di proprietà, materiale, commerciale o intellettuale che sia. Con le mie foto non sto vendendo, lucrando, guadagnando; sto parlando, per essere ascoltato e non per essere comprato. E il mio parlare non ha copyright. Buona visione. E buon ascolto
Questi sono alcuni degli scatti realizzati al mercato nei pressi del Castello medievale di Bran, comune della storia regione della Transilvania, dimora dimora, secondo la leggenda, del sanguinario conte Dracula, personaggio ispirato alla figura del principe Vlad III che nel XV secolo fece parlare di sè per la ferocia e la crudeltà del suo animo .
La fortezza tuttavia, non è il vero maniero appartenuto all'imperatore Vlad ma era utilizzato dal sovrano come residenza di caccia. Curioso è l'aver appreso che i rumeni sono venuti a conoscenza di Dracula e di tutta la leggenda ad esso annessa ai primi anni '90, dopo che l'ex dittatore comunista Ceacescu è stato destituito dei suoi poteri.
Sapere questo ha suscitato curiosità prima e riflessione poi: mi trovavo li, in mezzo alla popolazione locale portatrice di tradizioni in parte costruite e piegate al consumismo frenetico, recitando la mia parte da turista occidentale, inconsciamente privo del reale contatto con quel mondo di genti diverse . Ero in Transilvania per vedere il castello di un vampiro? Ero in Transilvania per poi raccontare di esserci stato?
Come il pezzo di una carovana di passanti ciechi e sordi che si autocompiace perchè viaggia e conosce, che prende tutto per oro colato, che non si pone un perchè, un percome. Ecco come mi son sentito. Volutamente cieco.
La Romania non è una leggenda. Non è un vampiro.
Sono persone.
Che non conoscevo e non conosco.
Image of a young Mayan man passing time on along a side street in Chichicastenanga, Guatemala.
This town in the mountains of Quiche has been, since pre-Hispanic times, one of the largest trading centers in the Maya area.
La chiesa di Santa Maria degli Angeli di Lugano fu eretta nel 1499. Faceva parte di un complesso conventuale che venne espropriato e parzialmente demolito per ordine del Governo del Canton Ticino. Al suo interno son conservati affreschi rinascimentali di Bernardino Luini di Dumenza, tra i più ammirati della Svizzera.
All’interno dell’edificio vi è uno dei capolavori del pittore rinascimentale Bernardino Luini: il grandioso affresco della Passione e Crocifissione di Cristo, i Santi Rocco e Sebastiano, datati 1529 sono raffigurati sulle spalle dell'arco centrale, e sopra le arcate i profeti. La grande parete del tramezzo offre uno spettacolo avvincente: un affresco ricco di figure della Passione; in primo piano sono poste le tre croci, quella di Cristo e dei due ladroni; la croce di Cristo è circondata in alto da un gruppo di angeli; una folla di personaggi anima la scena: ai lati dei soldati a cavallo: a destra, ai piedi della croce, Santa Maria Maddalena afflitta e inginocchiata; a sinistra si vede San Giovanni Evangelista piangente e, di lato, il gruppo delle Pie donne sostengono la Vergine addolorata; sul lato opposto alcuni soldati romani si giocano ai dadi il mantello di Gesù. Entro un colonnato, si possono ammirare le scene dell'Incontro con San Tommaso apostolo e della Derisione; fra queste: il Cristo Portacroce e il Compianto sul Cristo morto. La preghiera nell'Orto degli ulivi, appare a sinistra del fondale paesaggistico, mentre, a destra si può distinguere l'Ascensione.
Crocifissione di Bernardino Luini
La composizione della scena, severamente simmetrica, e la disposizione delle figure in piani regolari sovrapposti, conferiscono all'opera l'aspetto di un maestoso arazzo. La ricchezza di particolari e di pathos corrisponde con la migliore tradizione tardogotica tuttavia illuminata da una nuova cultura pittorica leonardesca.
Sulla parete meridionale della navata sono pure frutto dell'arte del Luini, con palesi influssi leonardeschi, l'affresco dell'Ultima Cena, traslato qui dal vecchio refettorio e, sulla parete est nella prima cappella (qui ricollocata dalla lunetta del portale che immetteva nel cimitero), la delicata Madonna col Bambino e San Giovannino. Le pitture murali nei tre archi della parete divisoria, che vennero scoperte nel 1929, rivelano la mano di un altro artista. Sulla fronte dell'arco di destra: i Santi Lorenzo e Stefano (?) e medaglioni con profeti; sulla parete interna meridionale: dipinto ricco di figure, forse ritratti di personaggi realmente vissuti, che attorniano un bambino addormentato ed una fanciulla: interpretato come quadro votivo per la guarigione dalla peste e da altre malattie, compreso il mal d'amore.
Nell'arco mediano: due visioni paesaggistiche di Gerusalemme e del Calvario, che si rifanno ad antichi modelli. Nella prima cappella laterale dedicata all'Immacolata e fondata in onore del medico luganese Lodovico Camuzio: sull'arco, fregio d'ornamenti rinascimentali; nell'intradosso, medaglioni con profeti; sulle pareti laterali, quattro Scene della Vita della Vergine dipinte dal Maestro della cappella Camuzio, identificato da Alessandra Brambilla con il pittore Bartolomeo da Ponte Tresa delle quali si son salvate solo quelle della Fuga in Egitto e dell'Adorazione dei Magi, (sul modello di una silografia di Albrecht Dürer). Interessante la Madonna col Bambino che ricorda il gruppo analogo nella chiesa dell'Annunziata ai piedi del Santuario della Madonna del Sasso ad Orselina, dello stesso pittore. Nelle lunette, angeli musicanti; sulla volta, quattro grandi figure di angeli attorno ad un'illusionistica cupola, e medaglioni con putti nelle unghie delle vele.