View allAll Photos Tagged precise
Designed by North 1998
The somewhat mythological RAC guidelines. These intensely detailed and precise guidelines outline the new RAC identity (also by North) established in 1997.
Things I've come to know or stories I've heard:
— 250 copies were produced
— Printed four colour process with six spot colours and two varnishes
— The guidelines took one year to design and produce
— Without substantial experience in large corporate identity programmes (at the time), North simply 'winged it' throughout the identity development. Although:
— A copy of the BMW corporate design guidelines by Zintzmeyer & Lux acted as a primary design reference
— As an example of the rigour undertaken for the programme, tests of the hi-vis clothing designs were conducted by North on a hard shoulder of a highway in wet and windy, low visibility conditions
The Byzantine Tekfur Palace, located in Edirnekapı, dates to the 13th or 14th century. Although its precise erection date is unknown it is believed to have been built as the workers living quarters next to the Blakhernai Palace. After the conquest of İstanbul, the building stayed abandoned until the 17th century. At that time it was converted into a zoo. It was used as a ceramic atelier in the 18th century and a glass atelier in the 19th century. The Tekfur Palace was restorated between 1955 and 1970. It is under restoration again today with more detailed excavations now taking place.
#SALTResearch, Ali Saim Ülgen Archive
Edirnekapı’da yer alan ve Bizans döneminden günümüze ulaşan Tekfur Sarayı’nın yapım tarihi tam olarak bilinmemektedir. Bazı kaynaklarda 13. veya 14. yüzyıla tarihlendirilen yapının, Blakhernai Sarayı çalışanlarının ikamet etmesi için saraya bitişik olarak inşa edildiği düşünülmektedir. İstanbul’un fethinden sonra 17. yüzyıla kadar metruk durumda kalan yapı, 17. yüzyıl sonunda hayvanat bahçesine çevrildi. 18. yüzyılda seramik atölyesi, 19. yüzyılın sonunda ise cam ve cam ürünleri imalathanesi olarak kullanıldı. 1955-1970 yıllarında restore edildi. Günümüzde yeniden restorasyon çalışmaları yapılan yapıda arkeolojik kazılar da sürdürülüyor.
#SALTAraştırma, Ali Saim Ülgen Arşivi
Repository: SALT Research
Rights Info: This material can be used under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license.
Keith Haring used his journals to carefully document his aesthetic discoveries through precise notes and careful illustrations. One of the early artistic experiments that he detailed in his journal was his focused exploration on a set number of geometric forms. The group of twenty-five red gouache works on view here illustrates the diversity of the forms that he developed. The forms range from a simple L shape to more complicated designs. This alphabet of shapes could be assembled in various combinations to create patterns. Haring spent a good deal of time thinking about the spatial layout of the forms and how they could be combined or separated, leaving a negative form in between.
Keith Haring: 1978–1982, on display from March 16 to July 8, 2012 in the Morris A. and Meyer Schapiro Wing of the Brooklyn Museum, was the first large-scale exhibition to explore the early career of the artist. Curated by Raphaela Platow, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.
Keith Haring (May 4, 1958 – February 16, 1990), a Pennsylvania native, moved to New York in 1978 and with his trademark creations across a variety of media, quickly made his mark in the thriving alternative art community that was developing outside the gallery and museum system. Haring was known for his subway graffiti, but instead of painting subway cars with spraypaint, he mostly drew with white chalk on the black paper pasted on unused advertising spaces. His distinctive style became widely known by those who never knew his identity. In his later years, he took on a more activist role, contributing works to hospitals and charities. In 1989, after being diagnosed with AIDS, he founded the Keith Haring Foundation, which supports organizations involved in AIDS education and outreach.
The Brooklyn Museum, sitting at the border of Prospect Heights and Crown Heights near Prospect Park, is the second largest art museum in New York City. Opened in 1897 under the leadership of Brooklyn Institute of Arts and Sciences president John B. Woodward, the 560,000-square foot, Beaux-Arts building houses a permanent collection including more than one-and-a-half million objects, from ancient Egyptian masterpieces to contemporary art.
LDD trick #12 Half LDU precise move quick template (0.5 LDraw Unit = 1/16 plate)
From left to right, simply make the green template by 4 steps. Please make sure that there is a gap between tile and technic brick.
No precise date for this one taken at Boston, but Thomson B1 61264 is carrying AWS so we think it is the early 60's.
The loco was new from the North British to the LNER in December 1947 as 1264. Withdrawl was in December 1965 and the loco went into departmental use as a mobile boiler for heating Carriages as 29 until July 1967. In 1968 it became the only LNER loco to be sent to Woodhams at Barry where it was bought from in 1973. Today the loco is at the Great Central Nottingham undergoing an overhaul including a new Inner Firebox, tender tanks and new tyres. It will also be fitted out for using Digital Signals.
Image from a negative in my collection taken by an unknown photographer.
Struggling to get a precise location. One thing's for certain, this postcard was sent on 9th May 1938 from Claygate Motors to a Miss R Palmer in Bournemouth about her interest in and possible purchase of a Ford 8. Apparently they had ordered it for her and expected its arrival on 20th May and were going to keep it there until she wanted it. The postmark is of Esher in Surrey so one can only presume the garage premises were near there. Anyway, it's a lovely photo of excellent quality and of an era when a garage could have some creeping plants growing up the front and just a single car on view in the showroom. Cleveland, National, Esso and Shell on sale on the forecourt. In just over a year it would be all change as the war broke out, rationing and pool petrol was introduced and car sales would have been a thing of the past.
The first Ford Capri to bear that precise name was introduced in January 1969 at the Brussels Motor Show, with sales starting the following month. The intention was to reproduce in Europe the success Ford had had with the North American Ford Mustang; to produce a European pony car. It was mechanically based on the Cortina and built in Europe at the Dagenham and Halewood plants in the United Kingdom, the Genk plant in Belgium, and the Saarlouis and Cologne plants in Germany. The car was named Colt during development stage, but Ford were unable to use the name, as it was trademarked by Mitsubishi.
(Wikipedia)
- - -
Der Capri wurde im Januar 1969 auf dem Brüsseler Autosalon offiziell präsentiert, der Verkauf begann im Februar. Mit dem Capri wollte Ford den Erfolg, den das Unternehmen mit dem Ford Mustang in den USA erzielt hatte, in Europa wiederholen und eine Art europäisches „Pony Car“ anbieten. Das Fahrwerk wurde vom englischen Ford Cortina übernommen, die Motoren zum Teil vom deutschen Ford Taunus. Hergestellt wurde er in den britischen Werken Dagenham und Halewood, im belgischen Genk und in den deutschen Ford-Fabriken Saarlouis und Köln. Der Entwicklungsname des Capri lautete Colt; da der Name aber rechtlich von Mitsubishi geschützt war, konnte Ford ihn für sein Serienmodell nicht verwenden.
(Wikipedia)
De Zimmertoren is een toren in Lier, in de Belgische provincie Antwerpen. De toren is genoemd naar uurwerkmaker Louis Zimmer, en is het resultaat van het verbouwen van de middeleeuwse Corneliustoren, die een deel was van de tweede omwalling rond de stad. De toren staat op het Zimmerplein, het vroegere Wilsonplein. Dit plein ligt aan de binnennete. De kade hier werd vroeger gebruikt om schepen te laden en lossen. Lierenaars spreken daarom ook nog vaak van de "kade" of "kaai" als ze verwijzen naar het Zimmerplein.
Het bouwjaar van de oorspronkelijke toren, een oude vestigingstoren (de corneliustoren), is niet precies bekend, maar ligt vóór 1425. De toren behoorde tot de tweede omwalling van de stad. De toren werd in 1812 door het gemeentebestuur verkocht, maar werd na de Eerste Wereldoorlog weer aangekocht, omdat het stadsbestuur de toren wilde afbreken. In 1928 schonk Zimmer aan de stad Lier een uurwerkmechanisme (de Jubelklok, gemaakt met zijn rechterhand Frans Dirckx en zo genoemd omwille van de viering van 100 jaar Belgische onafhankelijkheid in 1930 bij de officiële inhuldiging van de toren) dat diverse tijden en kosmische en andere periodieke verschijnselen aangeeft. Er werd besloten dit uurwerk onder te brengen in de bouwvallige Corneliustoren, die daartoe tussen 1928 en 1930 werd verbouwd en gerestaureerd en sindsdien Zimmertoren wordt genoemd. De inhuldiging van de Zimmertoren vond plaats op 29 juni 1930. De hele verbouwing werd voor het grootste deel uitgevoerd door vrijwilligers en de kostprijs bedroeg 169.230,40 Belgische frank.
Op het pleintje vóór de toren lag tot 2013 een voorstelling van het zonnestelsel, met de voorstelling van de planetoïden Felix (1664) en Zimmer (3064), die respectievelijk naar Felix Timmermans en Louis Zimmer werden genoemd en die ontdekt werden in 1929 en 1984. In 2013 is de planetencirkel verwijderd en vervangen door een didactische versie in het paviljoen.
De werken van Louis Zimmer worden sedert 1930 in eigendom beheerd door de onafhankelijke vzw Zimmertorencomité Lier die tevens huurster is van de gebouwen tot in 2045.
Sinds 1980 is de toren beschermd als monument. De Zimmertoren behoort tot een van de meest karakteristieke klokken van Europa.
The Zimmer tower (Dutch: Zimmertoren) is a tower in Lier, Belgium, also known as the Cornelius tower, that was originally a keep of Lier's fourteenth century city fortifications. In 1930, astronomer and clockmaker Louis Zimmer (1888–1970) built the Jubilee (or Centenary) Clock, which is displayed on the front of the tower, and consists of 12 clocks encircling a central one with 57 dials. These clocks showed time on all continents, phases of the moons, times of tides and many other periodic phenomena.
In 1980 the tower became a state-protected monument.
The original tower was built no later than 1425, though the precise date of construction is unknown. In 1812 the tower was sold by the municipal authorities, but after World War I, they repurchased it and slated it for demolition. In 1930 astronomer and clockmaker Louis Zimmer donated a complex clock which was installed in the old tower, which had to be substantially reconstructed for this. In honor of the astronomer the structure was renamed the Zimmer tower.
In 1960 a pavilion for the new clock was built next to the tower to present Zimmer's masterpiece the wonder-clock. (Dutch: Wonderklok). These wonder-clocks were prepared for the 1935 world exhibition in Brussels; later they were demonstrated in the U.S.. Around one of these dials moves the slowest pointer in the world - its complete revolution will take 25800 years, which corresponds to the period of the precession of the Earth's axis. Subsequently, Zimmer attached to the clocks a mechanical planetarium. The wonder-clocks impressed Albert Einstein, who congratulated Zimmer on the creation of these unusual mechanisms.
On the small square at the foot of the tower an exhibition of the solar system was arranged with the aid of metallic circles and the rings (circles designate the sun and planets, rings the orbits of planets). These also show asteroids Felix (№ 1664) and Zimmer (№ 3064), which were named after Felix Timmermans and Louis Zimmer when discovered in 1929, and 1984. In 1980 the tower obtained the status of state protected monument. Now the Zimmer tower and pavilion with the wonder-clocks is a museum.
The Centenary clock has one large dial in the centre, measure 1.5 metres (4 ft 11 in) in diameter. This dial shows the exact time (UTC+1; during daylight saving time UTC+2 is used instead). The twelve dials around the centre dial show the following (starting from the dial in the 2 o'clock position and going clockwise): the equation of time, the zodiac, the solar cycle and the dominical letter, the week, the globe, the months, the calendar dates, the seasons, the tides, the age of the moon, the phases of the moon and the metonic cycle and the epact.
The equation of time
This dial shows the difference in minutes between the apparent solar time and the mean solar time. Positive values indicate that the apparent solar time is ahead (fast) of the mean solar time, with maxima around November 3 and May 15. Negative values indicate that the apparent solar time is behind (slow) of the mean solar time, with a maximum lag around February 12 and July 27.
The difference is zero four times a year; around April 16, June 15, September 1 and December 25.
The zodiac
Every year the sun describes an imaginary circle around the earth, called the zodiac. The zodiac is divided in twelve segments, each denoted by a sign associated with a constellation. This dial shows the zodiac signs. The signs of spring; Ram, Bull and Twins. The signs of the summer; Crab, Lion and Virgin. The signs of the fall; Balance, Scorpion and Bowman. The signs of winter; Capricorn, Water-bearer and Fishes. One revolution of this dial takes a year.
The solar cycle and the dominical letter
The solar cycle is a 28-year cycle. After the 28 years, dates reappear in the same order. On the inner circle, the hand indicates the current year of the solar cycle. On the outer circle, the hand shows the corresponding dominical letter. The dominical letter gives the day upon which the first Sunday of the year falls. The letter A means that the first Sunday of the year will fall on January 1. The letter E for example, indicates that the first Sunday will be on January 5. Leap years have two dominical letters because the dominical letter changes end February. The first letter covers January and February, the second covers March to December. For leap years, the outer circle will show two dominical letters.
The week
This dial marks the seven days of the week, represented by ancient gods and their symbol.
SundayApollosun
MondayDianamoon
TuesdayMarslance
WednesdayMercuriusgolden staff
ThursdayJupiterflash of lightning
FridayVenusmirror
SaturdaySaturnsickle and scythe
The globe
The rotation of the Earth causes day and night. It is day on the part of the globe that is currently visible. The places on earth that pass under the fixed meridian (the golden belt running from the North Pole to the South Pole) have noon at the same time. The globe rotates once every 24 hours.
The months
This dial depicts the twelve months. The hand shows the current month. One revolution takes a year.
NumberMonthAlternative name
1JanuaryIce-month
2FebruaryDuck-month
3MarchFish-month
4AprilHarlequin-month
5MayFlower-month
6JuneShearing-month
7JulyHay-month
8AugustHarvest-month
9SeptemberFruit-month
10OctoberWine-month
11NovemberSlaughter-month
12DecemberResting-month
The calendar dates
This dial shows the exact date. The numbering goes to 31, the maximum number of days in a month. In months that have less days (28, 29 or 30), the hand automatically moves forward to the first day of the following month.
The seasons
The dial shows four drawings by Felix Timmermans, representing the four seasons. Spring is represented by a child with flowers (upper left). The duration of the season is indicated with Arabic numerals for the days and Roman numerals for the hours. Spring lasts for 92 days and 11 hours. The summer is represented by a mower and lasts 93 days and 8 hours. Autumn is symbolised by a cornucopia and lasts 89 days and 10 hours. Winter is represented by an old lady reading by the fireside. The duration of the winter is exact 90 days.
On the dividing lines between the drawings is a small globe indicating the part of the globe that is being lit by the sun at the start of the season. The differences in illumination during the year are caused by the Earth's axial tilt. The hand completes one revolution a year and shows the current season.
The tides
The dial indicates the tides at Lier, Belgium. The biggest ship and the flag without the streamer indicate high water. When the streamer is above the flag it is flood. It is ebb when the streamer is below the flag. At Lier, the water is rising for 3 hours and 53 minutes and falling in the other hours. This dial completes almost two revolutions a day.
The age of the moon
The time between two full moons is about 29 days, 12 hours, 44 minutes. This is the time it takes the Moon to make one orbit around the Earth. The dial shows how many days passed since last new moon, indicating the day in the cycle of the moon and showing on the inner circumference the phases of New Moon (Dutch: Nieuwe Maan, N.M.), First Quarter (Dutch: Eerste Kwartier, E.K.), Full Moon (Dutch: Volle Maan, V.M.) and Last Quarter (Dutch: Laatste Kwartier, L.K.).
The phases of the moon
This globe, colored half-gold and half-blue with golden stars, shows the phases of the moon. The golden part represents the visible part of the moon.
The metonic cycle and the epact
The hand on this dial revolves once in 19 years. After this period, the different phases of the moon will fall again on the same dates in the year. The Greek astronomer Meton proved this in 432 BC. On the outer ring, the hand points to the golden number, or the number of the current year in the metonic cycle. The inner ring shows the epact, which is the age of the moon on the first of January of the current year.
Images within this segment were taken while attending the Joint Aquatic Sciences Meeting
Please download and use these open source images for your own purposes. If you do, please reference Macroscopic Solutions.
Photography information: All of the images in this database were captured with the Macropod.
The Macropod is a rigid, portable photomacrography system, which allows the user to make razor sharp, fully focused photographs of small sized specimens at 18 to 26-megapixel resolution. It overcomes the extreme Depth of Field (DOF) limitations inherent in optics designed to image smaller specimens. Normally, lenses designed for macro will only render a very small fraction of the depth of targeted specimen in sharp focus at any one exposure. The Macropod allows the user to select and make multiple exposures in precise increments along the Z-axis (depth) such that each exposure’s area of sharp focus overlaps with the previous and next exposure. These source images are then transferred to a computer and merged by an image-stacking program. Zerene Stacker is used to find and stitch together only the focused pixels from each exposure into one image. The Macropod integrates industry-leading components in a novel and elegant way to achieve these results.
Contact information:
daniel@macroscopicsolutions.com
724 825 9426
mark@macroscopicsolutions.com
410 258 6144
To be precise, I was tagged 4 times. LOL
If I tag you and you have done this already or don't want to bother with it...then just ignore it. :) Okay, here we go:
1- I hate pictures of myself...so this took a little courage to upload 2 of these.
2- I studied Fine Arts with an emphasis in Illustration.
3- I work as a Production Artist at a printing company currently.
4- I love my husband so much! He makes me laugh and he is my best friend.
5- I am incredibly indecisive.
6- I was diagnosed with General Anxiety Disorder not long after starting college. I used to have panic attacks on an almost daily basis and I dropped down to 85lbs before I got help. I am better now, in fact I need to lose weight now. :P
7- I LOVE to sing!!! I am one of those crazy people you see driving along with the music blaring and singing my heart out. I can sing though. Really! I was in choir for a number of years and did a little competition in high school as well. I love all kinds of music ( Rock, Heavy Metal, Gospel, Techno, Opera, Jazz...) except for Rap and Country...especially Country. BLEH!
8- I love to read. We could practically have a small library with how many books we have.
9- I am a sucker for Dark Chocolate!!! <3
10- I am a Christian woman, and I will never deny that.
11- I am very eclectic.
12- I have waaayyy too many unfinished projects lying around (arts and crafts that is).
13- I grew up with frogs as pets...love them! They are too cool and too cute.
14- I am a dog person. I don't mind cats, just not crazy about them.
15- When it comes to cute things...I am very two-faced. If that makes sense. Some things are just too cute and makes me think: BLEH!
16- I hate the color pink. I like some girly things like wearing dresses, but I CANNOT stand the color pink unless it is in small doses or has some sort of attitude in how it is presented. Like pink and brown or pink and skulls are good combos. Anything too girly or frilly makes me gag. LOL
17- Halloween is my favorite holiday. I love Christmas as much as the next person, but I love to dress up or be in costume.
18- I am an absolute perfectionist, but I am seriously unorganized. :P
19- I am addicted to Coke. No, not the illegal drug, the drink. LOL I have cut down though to one or two cans a day and I switched to caffeine free.
20- I could sleep all day. Seriously. Most weekends I don't wake up until 10am and that is because I asked my husband to wake me. Maybe I am just one of those odd people who need more sleep...I dunno. I just know I sleep like a rock and have to have multiple alarms to get up.
21- I could care less about sports...and I have never been good at them either.
22- Terrible at math, but I have always aced English and spelling.
23- I am VERY much a family person.
24- I am a very shy person (if you couldn't tell from my earlier comments).
25- ummm...I am a major geek? Kind of running out of steam. OH! I am 29.
25 things about me was more difficult than I thought it would be... and a LOT more personal. Wow...
The furious Fury, a name that rocked the American automotive industry for the best part of 20 years, powerful and precise, and a true car of evolution.
Originally when it was launched in 1956, the Plymouth Fury was a contemporary space-age looking runaround, similar in fashion to the Cadillacs and Chryslers of the time. It was a very pretty car, as were pretty much all cars from back then, but the change of style didn't do the Plymouth any favours. The fins and space lines of the 50's gave way to the angles of the early-60's, and many Chrysler products of this period were maligned heavily for it, the 3rd Generation Fury being no exception. A comeback however was made with the 4th Generation, which presented us with the symbolic vertical headlight layout that would be iconised in the Dukes of Hazzard, as a slew of Police Vehicles.
The 1969 models featured Chrysler's new round-sided "Fuselage" styling. The Fury was again available as a 2-door coupe, 2-door convertible, 4-door hardtop, 4-door sedan, and 4-door station wagon. For 1970, the VIP was discontinued and a 4-door hardtop was added to the Sport Fury range, which also gained a new hardtop coupe. This was available in "GT" trim; 1970–71 Sport Fury GT models were powered by the 7.2L engine, which in 1970 could be ordered "6-barrel" carburetion consisting of three 2-barrel carburetors.
With the introduction of the 1969 body style, trim lines once again included the fleet-intended Fury I, volume models Fury II and Fury III, the sport-model Sport Fury and the top-line VIP. For 1970, the VIP was dropped, with the Sport Fury line expanded to include a four-door hardtop sedan. An optional Brougham package, which included individually-adjustable split bench seats with passenger recliner and luxurious trim comparable to the former VIP series, was available on Sport Furys; a Sport Fury GT and S/23 models took over the sport model space in the lineup. The S/23 was dropped for 1971, with new options including an electric sunroof (for top-line models) and a stereo tape player with a microphone, to allow drivers to record off the radio or take dictation.
For 1972, the Fury was facelifted with a large chrome twin-loop bumper design with a small insignia space between the loops and hidden headlamps as standard equipment on the Sport Suburban, and the newly introduced Fury Gran Coupe and Gran Sedan, which eventually would become the Plymouth Gran Fury; the Sport Fury and GT models were dropped, with the new Fury Gran series having the Brougham package available. Later in the year, hidden headlamps became an option on all models.[citation needed] For 1973, the front end was redesigned again with a new grille and headlamp setup, along with federally mandated 5mph bumpers.
When the new bodystyle was introduced in 1969, the 225 cubic-inch six-cylinder engine continued as standard on the Fury I, II and select III models, with the 318 cubic-inch V8 standard on the Sport Fury, some Fury III models and all VIP models plus the station wagon; a three-speed manual transmission was standard, with TorqueFlite transmission optional. The six-cylinder engine/three-speed manual transmission power team, along with the three-speed manual transmission on the 318 cubic-inch V8, continued to be available until midway through the 1971 model year, after which all full-sized Plymouths were built with a V8 engine and TorqueFlite transmission. Unlike its Chevrolet and Ford full-sized rivals, it does not appear that any full-sized Plymouths had a six-cylinder/manual transmission power team available in 1972.
The Plymouth Fury would soldier on for another two generations before being killed off in 1978. The name was revived briefly in the 1980's as the Gran Fury, variants of the Dodge Diplomat four-door saloon. The Plymouth Fury however is most famously recognised in its first generation as Christine, the sentient and murderous car from Stephen King's novel and movie of the same name.
This conical snoot greatly reduces light dispersion and delivers light to a precise area. With a honeycomb grid (25-30 degrees) at the end, light spread is further reduced to create a more directional, shielded light onto your subject.
Made of metal, the exterior is black in color and the interior silver. All of these ensures that the light are not wasted but instead, trapped inside the snoot and illuminated onto your subject.
===================================================================
Set of Multiple images (51 images for this photograph) taken at different focus distances to give this resulting image using the Focus Stacking (bracketing) technique on a setting of aperture:F3 1, shutter speed:/160s
Nikon D90 @ Tokina 100mm Macro f2.8 lens @ SB 600 @ 24 mm @ left of camera @ Triggered with on-camera Pocket Wizard MiniTT1 and a FlexTT5 on each flash for the Main Pic.
I shot one more single photograph in which I had the attached SB 900 & the pocket wizard ON to get the FLASH on a setting of aperture: f36, shutter speed: 15.00s.
The ISO 100 remains the same in both pics.
Both were merged to make this final pic.
The Miranda S shooting test
Miranda S + Miranda 5cm f2.8
Fujichrome Provia 400X (expired in the '90s)
K1ii + smc Pentax-FA 50mm f2.8 Macro + Pentax Film Duplicator
Some more of the images from the Miranda S camera that came with its Miranda 5cm f2.8 set lens and the Komura 105mm f2.8 that, at the time, I was after on auction and managed to get.
Regrettably during my cleaning and testing of the camera I did not notice that the curtain was damaged. So I had the unpleasant surprise of finding all the 36 test exposures doomed by a serious light leak from the tear it appeared during the usage, which remained contained only in those few frames I took almost sequentially, because the film was almost immediately winded up for se subsequent shot.
For the details on the camera, you can refer to my previous posts. Here I can only add that despite the accident and the impossibility to evaluate properly the lens rendering, it was a fun experience. Not easy; but educational.
Handling focusing properly (on a inverted and not really bright waist-level viewfinder), calculating the time, remembering to re-close the preset aperture, etc. is not such an intuitive and easy routine to master in one roll of film. More than anything - I can say - I have truly understood the necessity and function of the preset aperture: beyond f4 on these sort of cameras, even in the brightest hour of the day, you can hardly distinguish anything with precision in almost any circumstance.
In general, the Miranda 5cm f2.8 and its heliar design gave me the feeling of an original and relatively reliable lens. It seems quite sharp where it should be, with a background blur that is yes aged, but intriguing. It even displays a nice swirl far in the back. It seems to best perform with a subject not too far beyond 5-8 meters.
The rendering of the Komura - which survives here only in a few shots - is clearly different: more precise and with a smoother and beautiful bokeh and richer color/contrast.
HILL OF CROSSES
It was raining a lot, but I managed to visit this historical and religious place.
Hill of Crosses is a major site of Catholic pilgrimage near the city of Šiauliai. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the rebellion against Russian authorities in 1831. As families could not locate bodies of perished rebels, they started putting up symbolic crosses at the site of a former hill fort. Today there are more than 100,000 crosses and counting. Once Lithuania declared its independence, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence. In 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice.
Šiauliai, Lithuania July 2022 #itravelanddance
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
AMPLIFIED SHOCK AND AWE
The 2014 Supra SA350, SA450 and SA550 combine shocking wakes, precise handling and an awesome interior, but in true Supra style this wake boat has upped its shock value. The Supra SA shines with new metal flake gel coat colors, Blacked-out and Verge hull graphic as well as new Pro Edge Tower Contrast color options. The SA has gone soft, but durable on the inside with the abrasion resistant stain protected SupraSkin vinyl from Spradling; bringing together new colors and textures for an even more luxurious look and feel. A new aggressive windshield lifts the eyes of the boat to the level of refinement shared by the lofty attitude of the Barrage Front End and powerfully calming Battle Prep Transom. The SA still attacks the water with 350-550 horses of Indmar power, depending on your engine choice, pro hull design and precision underwater gear. Snap-out carpet covers a fiberglass floor for a quiet convenient base to a plush interior. 900 pounds of hard tank sub structural floor Liquid Lead ballast, a loaded Roswell Pro Edge Tower, Zero Off GPS speed control, the SmartPlate, VISION Touch Rider Profiles and 1,300-pounds of available Flex ballast will wake-up dreams of going pro. The Supra SA is shock and awe.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 13
Capacity - Weight: 1,900 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Autism spectrum disorder[a] (ASD), or simply autism, is a neurodevelopmental disorder "characterized by persistent deficits in social communication and social interaction across multiple contexts" and "restricted, repetitive patterns of behavior, interests, or activities".[11] Sensory abnormalities are also included in the diagnostic manuals. Common associated traits such as motor coordination impairment are typical of the condition but not required for diagnosis. A formal diagnosis requires that symptoms cause significant impairment in multiple functional domains, in addition to being atypical or excessive for the person's age and sociocultural context.[12][13]
Autism is a spectrum disorder, meaning it manifests in various ways, with its severity and support needs varying widely across different autistic people.[12][13][14] For example, some autistic people are nonverbal, while others have proficient spoken language. Furthermore, the spectrum is multi-dimensional and not all dimensions have been identified as of 2024.[15][16]
Public health authorities and guideline developers classify autism as a neurodevelopmental disorder,[12][17][13][18][19] but the autism rights movement (and some researchers) disagree with the classification. From the latter point of view, autistic people may be diagnosed with a disability, but that disability may be rooted in the structures of a society rather than the person.[20][21][22] On the contrary, other scientists argue that autism impairs functioning in many ways that are inherent to the disorder itself and unrelated to society.[23][24] The neurodiversity perspective has led to significant controversy among those who are autistic and advocates, practitioners, and charities.[25][26]
The precise causes of autism are unknown in most individual cases. Research shows that the disorder is highly heritable and polygenic, and neurobiological risks from the environment are also relevant.[27][28][29] Boys are also significantly far more frequently diagnosed than girls.[30]
Autism frequently co-occurs with attention deficit hyperactivity disorder (ADHD), epilepsy, and intellectual disability.[31][32][33] Disagreements persist about what should be part of the diagnosis, whether there are meaningful subtypes or stages of autism,[34] and the significance of autism-associated traits in the wider population.[35][36]
The combination of broader criteria, increased awareness, and the potential increase of actual prevalence has led to considerably increased estimates of autism prevalence since the 1990s.[37][38] The WHO estimates about 1 in 100 children had autism between 2012 and 2021, as that was the average estimate in studies during that period, with a trend of increasing prevalence over time.[b][9][10] This increasing prevalence has contributed to the myth perpetuated by anti-vaccine activists that autism is caused by vaccines.[39]
There is no known cure for autism, and some advocates dispute the need to find one.[40][41] Interventions such as applied behavior analysis (ABA), speech therapy, and occupational therapy can help these children gain self-care, social, and language skills.[42][43] Guidelines from the Centres for Disease Control (CDC), and European Society for Child & Adolescent Psychiatry endorse the use of ABA on the grounds that it reduces symptoms impairing daily functioning and quality of life,[42][44] but the National Institute for Health and Care Excellence cites a lack of high-quality evidence to support its use.[45] Additionally, some in the autism rights movement oppose its application due to a perception that it emphasises normalisation.[46][47][48] No medication has been shown to reduce ASD's core symptoms,[44] but some can alleviate comorbid issues.[49][50][51]
Classification
Spectrum model
Before the DSM-5 (2013) and ICD-11 (2022) diagnostic manuals were adopted, ASD was found under the diagnostic category pervasive developmental disorder. The previous system relied on a set of closely related and overlapping diagnoses such as Asperger syndrome and the syndrome formerly known as Kanner syndrome. This created unclear boundaries between the terms, so for the DSM-5 and ICD-11, a spectrum approach was taken. The new system is also more restrictive, meaning fewer people qualify for diagnosis.[52]
The DSM-5 and ICD-11 use different categorization tools to define this spectrum. DSM-5 uses a "level" system, which ranks how in need of support the patient is, level 1 being the mildest and level 3 the severest,[53] while the ICD-11 system has two axes, intellectual impairment and language impairment,[54] as these are seen as the most crucial factors.
Autism is currently defined as a highly variable neurodevelopmental disorder[55] that is generally thought to cover a broad and deep spectrum, manifesting very differently from one person to another. Some have high support needs, may be nonspeaking, and experience developmental delays; this is more likely with other co-existing diagnoses. Others have relatively low support needs; they may have more typical speech-language and intellectual skills but atypical social/conversation skills, narrowly focused interests, and wordy, pedantic communication.[56] They may still require significant support in some areas of their lives. The spectrum model should not be understood as a continuum running from mild to severe, but instead means that autism can present very differently in each person.[57] How it presents in a person can depend on context, and may vary over time.[58]
While the DSM and ICD greatly influence each other, there are also differences. For example, Rett syndrome was included in ASD in the DSM-5, but in the ICD-11 it was excluded and placed in the chapter on Developmental Anomalies. The ICD and the DSM change over time, and there has been collaborative work toward a convergence of the two since 1980 (when DSM-III was published and ICD-9 was current), including more rigorous biological assessment—in place of historical experience—and a simplification of the classification system.[59][60][61][62]
As of 2023, empirical and theoretical research is leading to a growing consensus among researchers that the established ASD criteria are ineffective descriptors of autism as a whole, and that alternative research approaches must be encouraged, such as going back to autism prototypes, exploring new causal models of autism, or developing transdiagnostic endophenotypes.[63] Proposed alternatives to the current disorder-focused spectrum model deconstruct autism into at least two separate phenomena: (1) a non-pathological spectrum of behavioral traits in the population,[64][65] and (2) the neuropathological burden of rare genetic mutations and environmental risk factors potentially leading to neurodevelopmental and psychological disorders,[64][65] (3) governed by an individual's cognitive ability to compensate.[64]
ICD
The World Health Organization's International Classification of Diseases (11th revision), ICD-11, was released in June 2018 and came into full effect as of January 2022.[66][59] It describes ASD as follows:[67]
Autism spectrum disorder is characterised by persistent deficits in the ability to initiate and to sustain reciprocal social interaction and social communication, and by a range of restricted, repetitive, and inflexible patterns of behaviour, interests or activities that are clearly atypical or excessive for the individual's age and sociocultural context. The onset of the disorder occurs during the developmental period, typically in early childhood, but symptoms may not become fully manifest until later, when social demands exceed limited capacities. Deficits are sufficiently severe to cause impairment in personal, family, social, educational, occupational or other important areas of functioning and are usually a pervasive feature of the individual's functioning observable in all settings, although they may vary according to social, educational, or other context. Individuals along the spectrum exhibit a full range of intellectual functioning and language abilities.
— ICD-11, chapter 6, section A02
ICD-11 was produced by professionals from 55 countries out of the 90 involved and is the most widely used reference worldwide.
DSM
The American Psychiatric Association's Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition, Text Revision (DSM-5-TR), released in 2022, is the current version of the DSM. It is the predominant mental health diagnostic system used in the United States and Canada, and is often used in Anglophone countries.
Its fifth edition, DSM-5, released in May 2013, was the first to define ASD as a single diagnosis,[68] which is still the case in the DSM-5-TR.[69] ASD encompasses previous diagnoses, including the four traditional diagnoses of autism—classic autism, Asperger syndrome, childhood disintegrative disorder, and pervasive developmental disorder not otherwise specified (PDD-NOS)—and the range of diagnoses that included the word "autism".[70] Rather than distinguishing among these diagnoses, the DSM-5 and DSM-5-TR adopt a dimensional approach with one diagnostic category for disorders that fall under the autism spectrum umbrella. Within that category, the DSM-5 and the DSM include a framework that differentiates each person by dimensions of symptom severity, as well as by associated features (i.e., the presence of other disorders or factors that likely contribute to the symptoms, other neurodevelopmental or mental disorders, intellectual disability, or language impairment).[69] The symptom domains are (a) social communication and (b) restricted, repetitive behaviors, and there is the option of specifying a separate severity—the negative effect of the symptoms on the person—for each domain, rather than just overall severity.[71] Before the DSM-5, the DSM separated social deficits and communication deficits into two domains.[72] Further, the DSM-5 changed to an onset age in the early developmental period, with a note that symptoms may manifest later when social demands exceed capabilities, rather than the previous, more restricted three years of age.[73] These changes remain in the DSM-5-TR.[69]
Signs and symptoms
See also: Outline of autism
Pre-diagnosis
For many autistic people, characteristics first appear during infancy or childhood and follow a steady course without remission (different developmental timelines are described in more detail below).[74] Autistic people may be severely impaired in some respects but average, or even superior, in others.[75][76][77]
Clinicians consider assessment for ASD when a patient shows:
Regular difficulties in social interaction or communication
Restricted or repetitive behaviors (often called "stimming")
Resistance to changes or restricted interests
These features are typically assessed with the following, when appropriate:
Problems in obtaining or sustaining employment or education
Difficulties in initiating or sustaining social relationships
Connections with mental health or learning disability services
A history of neurodevelopmental conditions (including learning disabilities and ADHD) or mental health conditions[78][79]
There are many signs associated with autism; the presentation varies widely. Common signs and symptoms include:[80][81]
Abnormalities in eye contact
Little or no babbling as an infant
Not showing interest in indicated objects
Delayed language skills (e.g., having a smaller vocabulary than peers or difficulty expressing themselves in words)
Reduced interest in other children or caretakers, possibly with more interest in objects
Difficulty playing reciprocal games (e.g., peek-a-boo)
Hyper- or hypo-sensitivity to or unusual response to the smell, texture, sound, taste, or appearance of things
Resistance to changes in routine
Repetitive, limited, or otherwise unusual usage of toys (e.g., lining up toys)
Repetition of words or phrases, including echolalia
Repetitive motions or movements, including stimming
Broader autism phenotype
The broader autism phenotype describes people who may not have ASD but do have autistic traits, such as abnormalities in eye contact and stimming.[82]
In 1996, American academic Temple Grandin published Emergence: Labeled Autistic, describing her life experiences as an autistic person.
Social and communication skills
According to the medical model, autistic people experience social communications impairments. Until 2013, deficits in social function and communication were considered two separate symptom domains.[83] The current social communication domain criteria for autism diagnosis require people to have deficits across three social skills: social-emotional reciprocity, nonverbal communication, and developing and sustaining relationships.[69]
A deficit-based view predicts that autistic–autistic interaction would be less effective than autistic–non-autistic interactions or even non-functional.[84] But recent research has found that autistic–autistic interactions are as effective in information transfer as interactions between non-autistics are, and that communication breaks down only between autistics and non-autistics.[84][85] Also contrary to social cognitive deficit interpretations, recent (2019) research recorded similar social cognitive performances in autistic and non-autistic adults, with both of them rating autistic individuals less favorably than non-autistic individuals; however, autistic individuals showed more interest in engaging with autistic people than non-autistic people did, and learning of a person's ASD diagnosis did not influence their interest level.[86]
Thus, there has been a recent shift to acknowledge that autistic people may simply respond and behave differently than people without ASD.[87] So far, research has identified two unconventional features by which autistic people create shared understanding (intersubjectivity): "a generous assumption of common ground that, when understood, led to rapid rapport, and, when not understood, resulted in potentially disruptive utterances; and a low demand for coordination that ameliorated many challenges associated with disruptive turns."[85] Autistic interests, and thus conversational topics, seem to be largely driven by an intense interest in specific topics (monotropism).[88][89]
Historically, autistic children were said to be delayed in developing a theory of mind, and the empathizing–systemizing theory has argued that while autistic people have compassion (affective empathy) for others with similar presentation of symptoms, they have limited, though not necessarily absent, cognitive empathy.[90] This may present as social naïvety,[91] lower than average intuitive perception of the utility or meaning of body language, social reciprocity,[92] or social expectations, including the habitus, social cues, and some aspects of sarcasm,[93] which to some degree may also be due to comorbid alexithymia.[94] But recent research has increasingly questioned these findings, as the "double empathy problem" theory (2012) argues that there is a lack of mutual understanding and empathy between both non-autistic persons and autistic individuals.[95][96][97][98][99]
As communication is bidirectional,[100] research on communication difficulties has since also begun to study non-autistic behavior, with researcher Catherine Crompton writing in 2020 that non-autistic people "struggle to identify autistic mental states, identify autistic facial expressions, overestimate autistic egocentricity, and are less willing to socially interact with autistic people. Thus, although non-autistic people are generally characterised as socially skilled, these skills may not be functional or effectively applied when interacting with autistic people."[84] Any previously observed communication deficits of autistic people may thus have been constructed through a neurotypical bias in autism research, which has come to be scrutinized for "dehumanization, objectification, and stigmatization".[101] Recent research has proposed that autistics' lack of readability and a neurotypical lack of effort to interpret atypical signals may cause a negative interaction loop, increasingly driving both groups apart into two distinct groups with different social interaction styles.[100]
Differences in verbal communication begin to be noticeable in childhood, as many autistic children develop language skills at an uneven pace. Verbal communication may be delayed or never developed (nonverbal autism), while reading ability may be present before school age (hyperlexia).[102][103] Reduced joint attention seem to distinguish autistic from non-autistic infants.[104] Infants may show delayed onset of babbling, unusual gestures, diminished responsiveness, and vocal patterns that are not synchronized with the caregiver. In the second and third years, autistic children may have less frequent and less diverse babbling, consonants, words, and word combinations; their gestures are less often integrated with words. Autistic children are less likely to make requests or share experiences and are more likely to simply repeat others' words (echolalia).[105] The CDC estimated in 2015 that around 40% of autistic children do not speak at all.[106] Autistic adults' verbal communication skills largely depend on when and how well speech is acquired during childhood.[102]
Autistic people display atypical nonverbal behaviors or show differences in nonverbal communication. They may make infrequent eye contact, even when called by name, or avoid it altogether. This may be due to the high amount of sensory input received when making eye contact.[107] Autistic people often recognize fewer emotions and their meaning from others' facial expressions, and may not respond with facial expressions expected by their non-autistic peers.[108][103] Temple Grandin, an autistic woman involved in autism activism, described her inability to understand neurotypicals' social communication as leaving her feeling "like an anthropologist on Mars".[109] Autistic people struggle to understand the social context and subtext of neurotypical conversational or printed situations, and form different conclusions about the content.[110] Autistic people may not control the volume of their voice in different social settings.[111] At least half of autistic children have atypical prosody.[111]
What may look like self-involvement or indifference to non-autistic people stems from autistic differences in recognizing how other people have their own personalities, perspectives, and interests.[110][112] Most published research focuses on the interpersonal relationship difficulties between autistic people and their non-autistic counterparts and how to solve them through teaching neurotypical social skills, but newer research has also evaluated what autistic people want from friendships, such as a sense of belonging and good mental health.[113][114] Children with ASD are more frequently involved in bullying situations than their non-autistic peers, and predominantly experience bullying as victims rather than perpetrators or victim-perpetrators, especially after controlling for comorbid psychopathology.[115] Prioritizing dependability and intimacy in friendships during adolescence, coupled with lowered friendship quantity and quality, often lead to increased loneliness in autistic people.[116] As they progress through life, autistic people observe and form a model of social patterns, and develop coping mechanisms, referred to as "masking",[117][118] which have recently been found to come with psychological costs and a higher increased risk of suicidality.[100]
Restricted and repetitive behaviors
Sleeping boy beside a dozen or so toys arranged in a line
A young autistic boy who has arranged his toys in a row
ASD includes a wide variety of characteristics. Some of these include behavioral characteristics, which widely range from slow development of social and learning skills to difficulties creating connections with other people. Autistic people may experience these challenges with forming connections due to anxiety or depression, which they are more likely to experience, and as a result isolate themselves.[119][120]
Other behavioral characteristics include abnormal responses to sensations (such as sights, sounds, touch, taste and smell) and problems keeping a consistent speech rhythm. The latter problem influences social skills, leading to potential problems in understanding for interlocutors. Autistic people's behavioral characteristics typically influence development, language, and social competence. Their behavioral characteristics can be observed as perceptual disturbances, disturbances of development rate, relating, speech and language, and motility.[121]
The second core symptom of autism spectrum is a pattern of restricted and repetitive behaviors, activities, and interests. In order to be diagnosed with ASD under the DSM-5-TR, a person must have at least two of the following behaviors:[69][122]
An autistic boy arranging brads on a cork coaster
Repetitive behaviors – Repetitive behaviors such as rocking, hand flapping, finger flicking, head banging, or repeating phrases or sounds.[123] These behaviors may occur constantly or only when the person gets stressed, anxious, or upset. These behaviors are also known as stimming.
Resistance to change – A strict adherence to routines such as eating certain foods in a specific order or taking the same path to school every day.[123] The person may become distressed if there is a change or disruption to their routine.
Restricted interests – An excessive interest in a particular activity, topic, or hobby, and devoting all their attention to it. For example, young children might completely focus on things that spin and ignore everything else. Older children might try to learn everything about a single topic, such as the weather or sports, and perseverate or talk about it constantly.[123]
Sensory reactivity – An unusual reaction to certain sensory inputs, such as negative reaction to specific sounds or textures, fascination with lights or movements, or apparent indifference to pain or heat.[124]
Autistic people can display many forms of repetitive or restricted behavior, which the Repetitive Behavior Scale-Revised (RBS-R) categorizes as follows.[125]
Stereotyped behaviors: Repetitive movements, such as hand flapping, head rolling, or body rocking.
Compulsive behaviors: Time-consuming behaviors intended to reduce anxiety, that a person feels compelled to perform repeatedly or according to rigid rules, such as placing objects in a specific order, checking things, or handwashing.
Sameness: Resistance to change; for example, insisting that the furniture not be moved or refusing to be interrupted.
Ritualistic behavior: Unvarying pattern of daily activities, such as an unchanging menu or a dressing ritual. This is closely associated with sameness and an independent validation has suggested combining the two factors.[125]
Self-injurious behaviors: Behaviors such as eye-poking, skin-picking, hand-biting and head-banging.[104]
Self-injury and suicide
Self-injurious behaviors are relatively common in autistic people, and can include head-banging, self-cutting, self-biting, and hair-pulling.[126] Some of these can result in serious injury or death.[126] Autistic people are about three times as likely as non-autistic people to engage in self-injury.[127]
Theories about the cause of self-injurious behavior in children with developmental delay, including autistic children, include:[128]
Frequency or continuation of self-injurious behavior can be influenced by environmental factors (e.g., reward in return for halting self-injurious behavior). This theory does not apply to younger children with autism. There is some evidence that frequency of self-injurious behavior can be reduced by removing or modifying environmental factors that reinforce the behavior.[128]: 10–12
Higher rates of self-injury are noted in socially isolated autistic people. Studies have shown that socialization skills are related factors to self-injurious behavior for autistic people.[129]
Self-injury could be a response to modulate pain perception when chronic pain or other health problems that cause pain are present.[128]: 12–13
Abnormal basal ganglia connectivity may predispose to self-injurious behavior.[128]: 13
Risk factors for self-harm and suicidality include circumstances that could affect anyone, such as mental health problems (e.g., anxiety disorder) and social problems (e.g., unemployment and social isolation), plus factors that affect only autistic people, such as actively trying to behave like like a neurotypical person, which is called masking.[130]
Rates of suicidality vary significantly depending upon what is being measured.[130] This is partly because questionnaires developed for neurotypical subjects are not always valid for autistic people.[130] As of 2023, the Suicidal Behaviours Questionnaire–Autism Spectrum Conditions (SBQ-ASC) is the only test validated for autistic people.[130] According to some estimates, about a quarter of autistic youth[131] and a third of all autistic people[130][132] have experienced suicidal ideation at some point. Rates of suicidal ideation are the same for people formally diagnosed with autism and people who have typical intelligence and are believed to have autism but have not been diagnosed.[130]
Although most people who attempt suicide are not autistic,[130] autistic people are about three times as likely as non-autistic people to make a suicide attempt.[127][133] Less than 10% of autistic youth have attempted suicide,[131] but 15% to 25% autistic adults have.[130][132] The rates of suicide attempts are the same among people formally diagnosed with autism and those who have typical intelligence and are believed to have autism but have not been diagnosed.[130] The suicide risk is lower among cisgender autistic males and autistic people with intellectual disabilities.[130][133] The rate of suicide results in a global excess mortality among autistic people equal to approximately 2% of all suicide deaths each year.[133]
Burnout
Main article: Autistic burnout
This section should include a summary of Autistic burnout. See Wikipedia:Summary style for information on how to incorporate it into this article's main text. (August 2024)
Studies have supported the common belief that autistic people become exhausted or burnt out in some situations.[134][135][136][137]
In 2021, screenwriter and actor Wentworth Miller revealed his autism diagnosis in a now-deleted Instagram post, stating it was "a shock" but "not a surprise".[138]
Other features
Autistic people may have symptoms that do not contribute to the official diagnosis, but that can affect the person or the family.[139]
Some autistic people show unusual or notable abilities, ranging from splinter skills (such as the memorization of trivia) to rare talents in mathematics, music, or artistic reproduction, which in exceptional cases are considered a part of the savant syndrome.[140][141][142] One study describes how some autistic people show superior skills in perception and attention relative to the general population.[143] Sensory abnormalities are found in over 90% of autistic people, and are considered core features by some.[144]
More generally, autistic people tend to show a "spiky skills profile", with strong abilities in some areas contrasting with much weaker abilities in others.[145]
Autistic people are less likely to show cognitive or emotional biases, and usually process information more rationally.[146] On the other hand, most autistic people exhibit lower levels of emotional intelligence, the ability to understand nonverbal clues about other people's feelings.[147]
Differences between the previously recognized disorders under the autism spectrum are greater for under-responsivity (for example, walking into things) than for over-responsivity (for example, distress from loud noises) or for sensation seeking (for example, rhythmic movements).[148] An estimated 60–80% of autistic people have motor signs that include poor muscle tone, poor motor planning, and toe walking;[144][149] deficits in motor coordination are pervasive across ASD and are greater in autism proper.[150][151]
Pathological demand avoidance can occur. People with this set of autistic symptoms are more likely to refuse to do what is asked or expected of them, even to activities they enjoy.
Unusual or atypical eating behavior occurs in about three-quarters of children with ASD, to the extent that it was formerly a diagnostic indicator.[139] Selectivity is the most common problem, although eating rituals and food refusal also occur.[152]
Problematic digital media use
See also: Screen time, Internet addiction disorder, and Video game addiction
This section is an excerpt from Digital media use and mental health § Autism.[edit]
In September 2018, the Review Journal of Autism and Developmental Disorders published a systematic review of 47 studies published from 2005 to 2016 that concluded that associations between autism spectrum disorder (ASD) and screen time was inconclusive.[153] In May 2019, the Journal of Developmental and Behavioral Pediatrics published a systematic review of 16 studies that found that children and adolescents with ASD are exposed to more screen time than typically developing peers and that the exposure starts at a younger age.[154] In April 2021, Research in Autism Spectrum Disorders published a systematic review of 12 studies of video game addiction in ASD subjects that found that children, adolescents, and adults with ASD are at greater risk of video game addiction than those without ASD, and that the data from the studies suggested that internal and external factors (sex, attention and oppositional behavior problems, social aspects, access and time spent playing video games, parental rules, and game genre) were significant predictors of video game addiction in ASD subjects.[155] In March 2022, the Review Journal of Autism and Developmental Disorders published a systematic review of 21 studies investigating associations between ASD, problematic internet use, and gaming disorder where the majority of the studies found positive associations between the disorders.[156]
In August 2022, the International Journal of Mental Health and Addiction published a review of 15 studies that found that high rates of video game use in boys and young males with ASD was predominantly explained by video game addiction, but also concluded that greater video game use could be a function of ASD restricted interest and that video game addiction and ASD restricted interest could have an interactive relationship.[157] In December 2022, the Review Journal of Autism and Developmental Disorders published a systematic review of 10 studies researching the prevalence of problematic internet use with ASD that found that ASD subjects had more symptoms of problematic internet use than control group subjects, had higher screen time online and an earlier age of first-time use of the internet, and also greater symptoms of depression and ADHD.[158] In July 2023, Cureus published a systematic review of 11 studies that concluded that earlier and longer screen time exposure for children was associated with higher probability of a child "developing" ASD.[159] In December 2023, JAMA Network Open published a meta-analysis of 46 studies comprising 562,131 subjects that concluded that while screen time may be a developmental cause of ASD in childhood, associations between ASD and screen time were not statistically significant when accounting for publication bias.[160]
Possible causes
Main article: Causes of autism
Exactly what causes autism remains unknown.[161][162][163][164] It was long mostly presumed that there is a common cause at the genetic, cognitive, and neural levels for the social and non-social components of ASD's symptoms, described as a triad in the classic autism criteria.[165] But it is increasingly suspected that autism is instead a complex disorder whose core aspects have distinct causes that often cooccur.[165][166] It is unlikely that ASD has a single cause;[166] many risk factors identified in the research literature may contribute to ASD. These include genetics, prenatal and perinatal factors (meaning factors during pregnancy or very early infancy), neuroanatomical abnormalities, and environmental factors. It is possible to identify general factors, but much more difficult to pinpoint specific ones. Given the current state of knowledge, prediction can only be of a global nature and so requires the use of general markers.[clarification needed][167]
Biological subgroups
Research into causes has been hampered by the inability to identify biologically meaningful subgroups within the autistic population[168] and by the traditional boundaries between the disciplines of psychiatry, psychology, neurology and pediatrics.[169] Newer technologies such as fMRI and diffusion tensor imaging can help identify biologically relevant phenotypes (observable traits) that can be viewed on brain scans, to help further neurogenetic studies of autism;[170] one example is lowered activity in the fusiform face area of the brain, which is associated with impaired perception of people versus objects.[171] It has been proposed to classify autism using genetics as well as behavior.[172]
Syndromic autism and non-syndromic autism
Main article: Syndromic autism
Autism spectrum disorder (ASD) can be classified into two categories: "syndromic autism" and "non-syndromic autism".
Syndromic autism refers to cases where ASD is one of the characteristics associated with a broader medical condition or syndrome, representing about 25% of ASD cases. The causes of syndromic autism are often known, and monogenic disorders account for approximately 5% of these cases.
Non-syndromic autism, also known as classic or idiopathic autism, represents the majority of cases, and its cause is typically polygenic and unknown.
Genetics
Main articles: Heritability of autism and Epigenetics of autism
See also: Missing heritability problem
Hundreds of different genes are implicated in susceptibility to developing autism,[173] most of which alter the brain structure in a similar way.
Autism has a strong genetic basis, although the genetics of autism are complex and it is unclear whether ASD is explained more by rare mutations with major effects, or by rare multi-gene interactions of common genetic variants.[174][175] Complexity arises due to interactions among multiple genes, the environment, and epigenetic factors which do not change DNA sequencing but are heritable and influence gene expression.[176] Many genes have been associated with autism through sequencing the genomes of affected people and their parents.[177] But most of the mutations that increase autism risk have not been identified. Typically, autism cannot be traced to a Mendelian (single-gene) mutation or to a single chromosome abnormality, and none of the genetic syndromes associated with ASD have been shown to selectively cause ASD.[174] Numerous genes have been found, with only small effects attributable to any particular gene.[174] Most loci individually explain less than 1% of cases of autism.[178] As of 2018, it appeared that between 74% and 93% of ASD risk is heritable.[122] After an older child is diagnosed with ASD, 7% to 20% of subsequent children are likely to be as well.[122] If parents have one autistic child, they have a 2% to 8% chance of having a second child who is autistic. If the autistic child is an identical twin, the other will be affected 36% to 95% of the time. A fraternal twin is affected up to 31% of the time.[179] The large number of autistic people with unaffected family members may result from spontaneous structural variation, such as deletions, duplications or inversions in genetic material during meiosis.[180][181] Hence, a substantial fraction of autism cases may be traceable to genetic causes that are highly heritable but not inherited: that is, the mutation that causes the autism is not present in the parental genome.[182]
As of 2018, understanding of genetic risk factors had shifted from a focus on a few alleles to an understanding that genetic involvement in ASD is probably diffuse, depending on a large number of variants, some of which are common and have a small effect, and some of which are rare and have a large effect. The most common gene disrupted with large effect rare variants appeared to be CHD8, but less than 0.5% of autistic people have such a mutation. The gene CHD8 encodes the protein chromodomain helicase DNA binding protein 8, which is a chromatin regulator enzyme that is essential during fetal development. CHD8 is an adenosine triphosphate (ATP)–dependent enzyme.[183][184][185] The protein contains an Snf2 helicase domain that is responsible for the hydrolysis of ATP to adenosine diphosphate (ADP).[185] CHD8 encodes a DNA helicase that functions as a repressor of transcription, remodeling chromatin structure by altering the position of nucleosomes. CHD8 negatively regulates Wnt signaling. Wnt signaling is important in the vertebrate early development and morphogenesis. It is believed that CHD8 also recruits the linker histone H1 and causes the repression of β-catenin and p53 target genes.[183] The importance of CHD8 can be observed in studies where CHD8-knockout mice died after 5.5 embryonic days because of widespread p53-induced apoptosis. Some studies have determined the role of CHD8 in autism spectrum disorder (ASD). CHD8 expression significantly increases during human mid-fetal development.[183] The chromatin remodeling activity and its interaction with transcriptional regulators have shown to play an important role in ASD aetiology.[184] The developing mammalian brain has conserved CHD8 target regions that are associated with ASD risk genes.[186] The knockdown of CHD8 in human neural stem cells results in dysregulation of ASD risk genes that are targeted by CHD8.[187] Recently CHD8 has been associated with the regulation of long non-coding RNAs (lncRNAs),[188] and the regulation of X chromosome inactivation (XCI) initiation, via regulation of Xist long non-coding RNA,[ambiguous] the master regulator of XCI,[ambiguous] though competitive binding to Xist regulatory regions.[189]
Some ASD is associated with clearly genetic conditions, like fragile X syndrome, but only around 2% of autistic people have fragile X.[122] Hypotheses from evolutionary psychiatry suggest that these genes persist because they are linked to human inventiveness, intelligence or systemising.[190][191]
Current research suggests that genes that increase susceptibility to ASD are ones that control protein synthesis in neuronal cells in response to cell needs, activity and adhesion of neuronal cells, synapse formation and remodeling, and excitatory to inhibitory neurotransmitter balance. Therefore, although up to 1,000 different genes are thought to increase the risk of ASD, all of them eventually affect normal neural development and connectivity between different functional areas of the brain in a similar manner that is characteristic of an ASD brain. Some of these genes are known to modulate production of the GABA neurotransmitter, the nervous system's main inhibitory neurotransmitter. These GABA-related genes are under-expressed in an ASD brain. On the other hand, genes controlling expression of glial and immune cells in the brain, e.g. astrocytes and microglia, respectively, are overexpressed, which correlates with increased number of glial and immune cells found in postmortem ASD brains. Some genes under investigation in ASD pathophysiology are those that affect the mTOR signaling pathway, which supports cell growth and survival.[192]
All these genetic variants contribute to the development of the autism spectrum, but it cannot be guaranteed that they are determinants for the development.[193]
ASD may be under-diagnosed in women and girls due to an assumption that it is primarily a male condition,[194] but genetic phenomena such as imprinting and X linkage have the ability to raise the frequency and severity of conditions in males, and theories have been put forward for a genetic reason why males are diagnosed more often, such as the imprinted brain hypothesis and the extreme male brain theory.[195][196][197]
Early life
See also: Refrigerator mother theory
Several prenatal and perinatal complications have been reported as possible risk factors for autism. These risk factors include maternal gestational diabetes, maternal and paternal age over 30,[198][199][200] bleeding during pregnancy after the first trimester, use of certain prescription medication (e.g. valproate) during pregnancy, and meconium in the amniotic fluid. Research is not conclusive on the relation of these factors to autism, but each of them has been identified more frequently in children with autism compared to their siblings who do not have autism and other typically developing youth.[201] While it is unclear if any single factors during the prenatal phase affect the risk of autism,[202] complications during pregnancy may be a risk.[202]
There are also studies being done to test whether certain types of regressive autism have an autoimmune basis.[203]
Maternal nutrition and inflammation during preconception and pregnancy influences fetal neurodevelopment. Intrauterine growth restriction is associated with ASD, in both term and preterm infants.[204] Maternal inflammatory and autoimmune diseases may damage fetal tissues, aggravating a genetic problem or damaging the nervous system.[205] Systematic reviews and meta-analyses have found that maternal prenatal infections, prenatal antibiotic exposure, and post-term pregnancies are associated with increased risk of ASD in children.[206][207][208]
Exposure to air pollution during child pregnancy, especially heavy metals and particulates, may increase the risk of autism.[209][210] Environmental factors that have been claimed without evidence to contribute to or exacerbate autism include certain foods, infectious diseases, solvents, PCBs, phthalates and phenols used in plastic products, pesticides, brominated flame retardants, alcohol, smoking, illicit drugs, vaccines,[211] and prenatal stress. Some, such as the MMR vaccine, have been completely disproven.[212][213][214][215]
Disproven vaccine hypothesis
Main articles: Vaccines and autism and MMR vaccine and autism
Parents may first become aware of ASD symptoms in their child around the time of a routine vaccination. This has led to unsupported and disproven theories blaming vaccine "overload", the vaccine preservative thiomersal, or the MMR vaccine for causing autism spectrum disorder.[216] In 1998, British physician and academic Andrew Wakefield led a fraudulent, litigation-funded study that suggested that the MMR vaccine may cause autism.[217][218][219][220][221]
Two versions of the vaccine causation hypothesis were that autism results from brain damage caused by either the MMR vaccine itself, or by mercury used as a vaccine preservative.[222] No convincing scientific evidence supports these claims.[39] They are biologically implausible,[216] and further evidence continues to refute them, including the observation that the rate of autism continues to climb despite elimination of thimerosal from most routine vaccines given to children from birth to 6 years of age.[223][224][225][226][227]
A 2014 meta-analysis examined ten major studies on autism and vaccines involving 1.25 million children worldwide; it concluded that neither the vaccine preservative thimerosal (mercury), nor the MMR vaccine, which has never contained thimerosal,[228] lead to the development of ASDs.[229] Despite this, misplaced parental concern has led to lower rates of childhood immunizations, outbreaks of previously controlled childhood diseases in some countries, and the preventable deaths of several children.[230][231]
Etiological hypotheses
Several hypotheses have been presented that try to explain how and why autism develops by integrating known causes (genetic and environmental effects) and findings (neurobiological and somatic). Some are more comprehensive, such as the Pathogenetic Triad, which proposes and operationalizes three core features (an autistic personality, cognitive compensation, neuropathological burden) that interact to cause autism,[232] and the Intense World Theory, which explains autism through a hyper-active neurobiology that leads to an increased perception, attention, memory, and emotionality.[233] There are also simpler hypotheses that explain only individual parts of the neurobiology or phenotype of autism, such as mind-blindness (a decreased ability for theory of mind), the weak central coherence theory, or the extreme male brain and empathising–systemising theory.
Evolutionary hypotheses
See also: Evolutionary psychology and Pleiotropy § Autism and schizophrenia
Research exploring the evolutionary benefits of autism and associated genes has suggested that autistic people may have played a "unique role in technological spheres and understanding of natural systems" in the course of human development.[234][235] It has been suggested that autism may have arisen as "a slight trade off for other traits that are seen as highly advantageous", providing "advantages in tool making and mechanical thinking", with speculation that the condition may "reveal itself to be the result of a balanced polymorphism, like sickle cell anemia, that is advantageous in a certain mixture of genes and disadvantageous in specific combinations".[236] In 2011, a paper in Evolutionary Psychology proposed that autistic traits, including increased spatial intelligence, concentration and memory, could have been naturally selected to enable self-sufficient foraging in a more (although not completely) solitary environment. This is called the "Solitary Forager Hypothesis".[237][238][239] A 2016 paper examines Asperger syndrome as "an alternative prosocial adaptive strategy" that may have developed as a result of the emergence of "collaborative morality" in the context of small-scale hunter-gathering, i.e., where "a positive social reputation for making a contribution to group wellbeing and survival" becomes more important than complex social understanding.[240]
Some research suggests that recent human evolution may be a driving force in the rise of autism in recent human populations. Studies in evolutionary medicine indicate that as cultural evolution outpaces biological evolution, disorders linked to bodily dysfunction increase in prevalence due to lack of contact with pathogens and negative environmental conditions that once widely affected ancestral populations. Because natural selection favors reproduction over health and longevity, the lack of this impetus to adapt to certain harmful circumstances creates a tendency for genes in descendant populations to over-express themselves, which may cause a wide array of maladies, ranging from mental disorders to autoimmune diseases.[241] Conversely, noting the failure to find specific alleles that reliably cause autism or rare mutations that account for more than 5% of the heritable variation in autism established by twin and adoption studies, research in evolutionary psychiatry has concluded that it is unlikely that there is selection pressure for autism when considering that, like schizophrenics, autistic people and their siblings tend to have fewer offspring on average than non-autistic people, and instead that autism is probably better explained as a by-product of adaptive traits caused by antagonistic pleiotropy and by genes that are retained due to a fitness landscape with an asymmetric distribution.[242][243][244]
Pathophysiology
Main articles: Mechanism of autism and Pathophysiology of autism
[icon]
This section is empty. You can help by adding to it. (October 2024)
Diagnosis
Main article: Diagnosis of autism
This section should include a summary of Diagnosis of autism. See Wikipedia:Summary style for information on how to incorporate it into this article's main text. (August 2024)
This section is an excerpt from Diagnosis of autism.[edit]
The diagnosis of autism is based on a person's reported and directly observed behavior.[245] There are no known biomarkers for autism spectrum conditions that allow for a conclusive diagnosis.[246]
In most cases, diagnostic criteria codified in the World Health Organization's International Classification of Diseases (ICD) or the American Psychiatric Association's Diagnostic and Statistical Manual of Mental Disorders (DSM) are used. These reference manuals are regularly updated based on advances in research, systematic evaluation of clinical experience, and healthcare considerations. Currently, the DSM-5 published in 2013 and the ICD-10 that came into effect in 1994 are used, with the latter in the process of being replaced by the ICD-11 that came into effect in 2022 and is now implemented by healthcare systems across the world. Which autism spectrum diagnoses can be made and which criteria are used depends on the local healthcare system's regulations.
According to the DSM-5-TR (2022), in order to receive a diagnosis of autism spectrum disorder, one must present with "persistent deficits in social communication and social interaction" and "restricted, repetitive patterns of behavior, interests, or activities."[247] These behaviors must begin in early childhood and affect one's ability to perform everyday tasks. Furthermore, the symptoms must not be fully explainable by intellectual developmental disorder or global developmental delay.
Conditions correlated or comorbid to autism
Main article: Conditions comorbid to autism spectrum disorders
Euler diagram showing overlapping clinical phenotypes in genes associated with monogenic forms of autism spectrum disorder (ASD), dystonia, epilepsy and schizophrenia:
Genes associated with epilepsy
Genes associated with schizophrenia
Genes associated with autism spectrum disorder
Genes associated with dystonia
Autism is correlated or comorbid with several personality traits/disorders.[171] Comorbidity may increase with age and may worsen the course of youth with ASDs and make intervention and treatment more difficult. Distinguishing between ASDs and other diagnoses can be challenging because the traits of ASDs often overlap with symptoms of other disorders, and the characteristics of ASDs make traditional diagnostic procedures difficult.[248][249]
Correlations
Research indicates that autistic people are significantly more likely to be LGBT than the general population.[33] There is tentative evidence that gender dysphoria occurs more frequently in autistic people.[250][251] A 2021 anonymized online survey of 16- to 90-year-olds revealed that autistic males are more likely to identify as bisexual than their non-autistic peers, while autistic females are more likely to identify as homosexual than non-autistic females do.[252][non-primary source needed]
People on the autism spectrum are significantly more likely to be non-theistic than members of the general population.[253]
Comorbidities
A 2024 Danish cohort study found increased risks for a multitude of comorbid physical diseases, especially in infancy.
The most common medical condition occurring in autistic people is seizure disorder or epilepsy, which occurs in 11–39% of autistic people.[254] The risk varies with age, cognitive level, and type of language disorder.[255]
Tuberous sclerosis, an autosomal dominant genetic condition in which non-malignant tumors grow in the brain and on other vital organs, is present in 1–4% of autistic people.[256]
Intellectual disabilities are some of the most common comorbid disorders with ASDs. As diagnosis is increasingly being given to people with higher functioning autism, there is a tendency for the proportion with comorbid intellectual disability to decrease over time. In a 2019 study, it was estimated that approximately 30–40% of people diagnosed with ASD also have intellectual disability.[257] Recent research has suggested that autistic people with intellectual disability tend to have rarer, more harmful, genetic mutations than those found in people solely diagnosed with autism.[258] A number of genetic syndromes causing intellectual disability may also be comorbid with ASD, including fragile X, Down, Prader-Willi, Angelman, Williams syndrome,[259] branched-chain keto acid dehydrogenase kinase deficiency,[260][261] and SYNGAP1-related intellectual disability.[262][263]
Learning disabilities are also highly comorbid in people with an ASD. Approximately 25–75% of people with an ASD also have some degree of a learning disability.[264] In particular, attention deficit disorder, which is generally more prevalent than autism (ca. 8% vs. 1%), is not directly related, though it is sometimes comorbid with autism.[265]
Various anxiety disorders tend to co-occur with ASDs, with overall comorbidity rates of 7–84%.[266] They are common among children with ASD; there are no firm data, but studies have reported prevalences ranging from 11% to 84%. Many anxiety disorders have symptoms that are better explained by ASD itself or are hard to distinguish from ASD's symptoms.[267]
Rates of comorbid depression in people with an ASD range from 4–58%.[268]
The relationship between ASD and schizophrenia remains a controversial subject under continued investigation, and recent meta-analyses have examined genetic, environmental, infectious, and immune risk factors that may be shared between the two conditions.[269][270][271] Oxidative stress, DNA damage and DNA repair have been postulated to play a role in the aetiopathology of both ASD and schizophrenia.[272]
Deficits in ASD are often linked to behavior problems, such as difficulties following directions, being cooperative, and doing things on other people's terms.[273] Symptoms similar to those of ADHD can be part of an ASD diagnosis.[274]
Sensory processing disorder is also comorbid with ASD, with comorbidity rates of 42–88%.[275]
Starting in adolescence, some people with Asperger syndrome (26% in one sample)[276] fall under the criteria for the similar condition schizoid personality disorder, which is characterized by a lack of interest in social relationships, a tendency towards a solitary or sheltered lifestyle, secretiveness, emotional coldness, detachment and apathy.[276][277][278] Asperger syndrome was traditionally called "schizoid disorder of childhood".
Genetic disorders – about 10–15% of autism cases have an identifiable Mendelian (single-gene) condition, chromosome abnormality, or other genetic syndromes.[279]
Several metabolic defects, such as phenylketonuria, are associated with autistic symptoms.[280]
Gastrointestinal problems are one of the most commonly co-occurring medical conditions in autistic people.[281] These are linked to greater social impairment, irritability, language impairments, mood changes, and behavior and sleep problems.[281][282][283] A 2015 review proposed that immune, gastrointestinal inflammation, malfunction of the autonomic nervous system, gut flora alterations, and food metabolites may cause brain neuroinflammation and dysfunction.[282] A 2016 review concludes that enteric nervous system abnormalities might play a role in neurological disorders such as autism. Neural connections and the immune system are a pathway that may allow diseases originated in the intestine to spread to the brain.[283]
Sleep problems affect about two-thirds of autistic people at some point in childhood. These most commonly include symptoms of insomnia, such as difficulty falling asleep, frequent nocturnal awakenings, and early morning awakenings. Sleep problems are associated with difficult behaviors and family stress, and are often a focus of clinical attention over and above the primary ASD diagnosis.[284]
Dysautonomia is common in ASD, affecting heart rate and blood pressure and causing symptoms such as brain fog, blurry vision, and bowel dysfunction.[285] It can be diagnosed through a Tilt table test.[286]
The frequency of ASD is 10 times higher in mast cell activation syndrome patients than in the general population. This immunological condition causes cardiovascular, dermatological, gastrointestinal, neurological, and respiratory problems.[287]
Management
Main article: Autism therapies
See also: Autism-friendly
There is no treatment as such for autism,[288] and many sources advise that this is not an appropriate goal,[289][290] although treatment of co-occurring conditions remains an important goal.[291] There is no cure for autism, nor can any of the known treatments significantly reduce brain mutations caused by autism, although those who require little to no support are more likely to experience a lessening of symptoms over time.[292][293][294] Several interventions can help children with autism,[295] and no single treatment is best, with treatment typically tailored to the child's needs.[296] Studies of interventions have methodological problems that prevent definitive conclusions about efficacy,[297] but the development of evidence-based interventions has advanced.[298]
The main goals of treatment are to lessen associated deficits and family distress, and to increase quality of life and functional independence. In general, higher IQs are correlated with greater responsiveness to treatment and improved treatment outcomes.[299][298] Behavioral, psychological, education, and skill-building interventions may be used to assist autistic people to learn life skills necessary for living independently,[300] as well as other social, communication, and language skills. Therapy also aims to reduce challenging behaviors and build upon strengths.[301]
Intensive, sustained special education programs and behavior therapy early in life may help children acquire self-care, language, and job skills.[296] Although evidence-based interventions for autistic children vary in their methods, many adopt a psychoeducational approach to enhancing cognitive, communication, and social skills while minimizing problem behaviors. While medications have not been found to help with core symptoms, they may be used for associated symptoms, such as irritability, inattention, or repetitive behavior patterns.[302]
Non-pharmacological interventions
Intensive, sustained special education or remedial education programs and behavior therapy early in life may help children acquire self-care, social, and job skills. Available approaches include applied behavior analysis, developmental models, structured teaching, speech and language therapy, cognitive behavioral therapy,[303] social skills therapy, and occupational therapy.[304] Among these approaches, interventions either treat autistic features comprehensively, or focus treatment on a specific area of deficit.[298] Generally, when educating those with autism, specific tactics may be used to effectively relay information to these people. Using as much social interaction as possible is key in targeting the inhibition autistic people experience concerning person-to-person contact. Additionally, research has shown that employing semantic groupings, which involves assigning words to typical conceptual categories, can be beneficial in fostering learning.[305]
There has been increasing attention to the development of evidence-based interventions for autistic young children. Three theoretical frameworks outlined for early childhood intervention include applied behavior analysis (ABA), the developmental social-pragmatic model (DSP) and cognitive behavioral therapy (CBT).[303][298] Although ABA therapy has a strong evidence base, particularly in regard to early intensive home-based therapy, ABA's effectiveness may be limited by diagnostic severity and IQ of the person affected by ASD.[306] The Journal of Clinical Child and Adolescent Psychology has published a paper deeming two early childhood interventions "well-established": individual comprehensive ABA, and focused teacher-implemented ABA combined with DSP.[298]
Many people have criticized ABA, calling it unhelpful and unethical.[307][308][309] Sandoval-Norton et al. also discuss the "unintended but damaging consequences, such as prompt dependency, psychological abuse and compliance" that result in autistic people facing challenges as they transition into adulthood.[307] Some ABA advocates have responded to such critiques that, instead of stopping ABA, there should be movement to increase protections and ethical compliance when working with autistic children.[310]
Another evidence-based intervention that has demonstrated efficacy is a parent training model, which teaches parents how to implement various ABA and DSP techniques themselves.[298] Various DSP programs have been developed to explicitly deliver intervention systems through at-home parent implementation.
In October 2015, the American Academy of Pediatrics (AAP) proposed new evidence-based recommendations for early interventions in ASD for children under 3.[311] These recommendations emphasize early involvement with both developmental and behavioral methods, support by and for parents and caregivers, and a focus on both the core and associated symptoms of ASD.[311] But a Cochrane review found no evidence that early intensive behavioral intervention (EIBI) is effective in reducing behavioral problems associated with autism in most autistic children, though it did improve IQ and language skills. The Cochrane review acknowledged that this may be due to the low quality of studies available on EIBI and therefore providers should recommend EIBI based on their clinical judgment and the family's preferences. No adverse effects of EIBI treatment were found.[312] A meta-analysis in that same database indicates that due to the heterology in ASD, children progress to differing early intervention modalities based on ABA.[313]
ASD treatment generally focuses on behavioral and educational interventions to target its two core symptoms: social communication deficits and restricted, repetitive behaviors. If symptoms continue after behavioral strategies have been implemented, some medications can be recommended to target specific symptoms or co-existing problems such as restricted and repetitive behaviors (RRBs), anxiety, depression, hyperactivity/inattention and sleep disturbance.[314] Melatonin, for example, can be used for sleep problems.[315]
Several parent-mediated behavioral therapies target social communication deficits in children with autism, but their efficacy in treating RRBs is uncertain.[316]
Education
A young child points, in front of a woman who smiles and points in the same direction.
An autistic three-year-old points to fish in an aquarium, as part of an experiment on the effect of intensive shared-attention training on language development.[317]
Educational interventions often used include applied behavior analysis (ABA), developmental models, structured teaching, speech and language therapy and social skills therapy.[296] Among these approaches, interventions either treat autistic features comprehensively, or focalize treatment on a specific area of deficit.[298]
The quality of research for early intensive behavioral intervention (EIBI)—a treatment procedure incorporating over 30 hours per week of the structured type of ABA that is carried out with very young children—is low; more vigorous research designs with larger sample sizes are needed.[312] Two theoretical frameworks outlined for early childhood intervention include structured and naturalistic ABA interventions, and developmental social pragmatic models (DSP).[298] One interventional strategy utilizes a parent training model, which teaches parents how to implement various ABA and DSP techniques, allowing for parents to disseminate interventions themselves.[298] Various DSP programs have been developed to explicitly deliver intervention systems through at-home parent implementation. Despite the recent development of parent training models, these interventions have demonstrated effectiveness in numerous studies, being evaluated as a probable efficacious mode of treatment.[298] Early, intensive ABA therapy has demonstrated effectiveness in enhancing communication and adaptive functioning in preschool children;[296][318] it is also well-established for improving the intellectual performance of that age group.[296]
In 2018, a Cochrane meta-analysis database concluded that some recent research is beginning to suggest that because of the heterology of ASD, there are two different ABA teaching approaches to acquiring spoken language: children with higher receptive language skills respond to 2.5 to 20 hours per week of the naturalistic approach, whereas children with lower receptive language skills require 25 hou
HILL OF CROSSES
It was raining a lot, but I managed to visit this historical and religious place.
Hill of Crosses is a major site of Catholic pilgrimage near the city of Šiauliai. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the rebellion against Russian authorities in 1831. As families could not locate bodies of perished rebels, they started putting up symbolic crosses at the site of a former hill fort. Today there are more than 100,000 crosses and counting. Once Lithuania declared its independence, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence. In 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice.
Šiauliai, Lithuania July 2022 #itravelanddance
Tank Infantry Mark III, Valentine IX (E2000.577)
The precise identity of this tank is not clear, all identification marks having been removed many years ago. It stood outside the Army Base at Long Kesh in Northern Ireland for many years, subsequently moving to the Maze Prison and Lisanelly Camp, Omagh.
It was subsequently acquired by Vickers Defence Systems and restored to running order in Newcastle using the engine from our Valentine Archer (E1969.43). In due course it was offered to the Tank Museum on loan and ultimately, in March 2002 was gifted to the Museum.
The Valentine Mark IX was upgunned to fit a 57mm (six-pounder) gun into the turret although this did not leave enough room for a co-axial machine gun and in any case, with just a two-man turret crew the tank was very difficult to fight.
Our tank carried the number T123358 on the turret which is correct for the type but not necessarily for this actual vehicle. Mark IX Valentines saw service in North Africa and some may have been suppplied to Russia but by 1943 the Valentine had been replaced in front line service by more modern vehicles and was either being relegated to secondary roles or supplied to other countries such as Portugal.
The Valentine development started without a specification from the War Office (hence the absence of an army designation), as a private design by Sir John Carden, and was submitted on February, 10, 1938, to the authorities. By then, the Matilda II had been chosen for production, but the Valentine was something different.
Vickers engineers basically tried to enhance their A10 Cruiser tank design, with a dramatic increase in protection (up to 60 mm/2.36 in). This choice allowed the use most components and parts of the already produced Cruiser I and II, therefore creating an efficient and cheap solution to the need of new infantry tank models. By then, the Matilda II was found to be far costlier than the Matilda I, and not suitable for mass-production. Comparatively, the Valentine seemed a good compromise. The name itself still is a mystery. It could have originated either from Sir John Carden’s middle name, or the date of its first submission (St. Valentine day), or a composed Vickers factory codename, though most historians agree that Valentine was just a simple codename during development.
The Mark I set the tone for the entire series of eleven main variants, with many sub-variants, and a staggering total of 8300 units. The main armament and turret design, as well as the engine and protection, were continuously improved while keeping roughly the same general appearance until 1945. The Mk.I was recognizable by its original two-man turret and 2-pdr (40 mm/1.575 in) gun. From the start, a coaxial Besa machine-gun constitued the secondary armament. The crew consisted of only three men due to the cramped interior, and the commander was also busy as gun loader, machine-gunner and radio operator. The production was rushed to such point that many problems were later detected and fixed with the next Mk.II. The main engine was the AEG A189 petrol delivering only 135 hp, and the hull was riveted. 350 were delivered in all, most seeing action in Libya, while others stayed at home for training.
Tankfest by World of Tanks - 24.-25.6.2016
The Tank Museum - Bovington, UK
Worlds biggest and best live display of historic armour, living history, and much more at the Home of the Tank - The Tank Museum, Bovington, United Kingdom.
More from Tankfest:
www.flickr.com/photos/jukkaokauppinen2/albums/72157670621...
More from me:
www.flickr.com/photos/jukkaokauppinen
Tankfest videos:
www.youtube.com/playlist?list=PLIGRHBJyGQb3PpXwFlOKve2OUJ...
My Imgur galleries:
www.twitter.com/Memoire2cite le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur 50ans.apur.org/#intro @ Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - dailymotion.com/video/xxi0ae?playlist=x34ije … Trente ans d’histoire de l’habitat : de la
Reconstruction à l’urbanisation intensive, puis raisonnée. La région parisienne connaît alors un développement
exceptionnel façonnant le paysage de l’Îlede-France actuelle.
Réalisée à l’initiative de la DRAC Île-deFrance, une exposition regroupant une quarantaine de photographies d’ensembles de logements édifiés en Île-de-France entre 1945 et 1975 et sélectionnés pour la qualité de leur forme urbaine, leur valeur d’usage ou leurs spécificités techniques, a été présentée, du 5 juillet au 15 septembre 2011, à La Maison de l’architecture en Île-de-France. Cette exposition a fait l’objet d’une publication dans la revue Beaux Arts Editions. @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ".où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire. Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique.Le thème du logement. « Il s’agit du premier label Patrimoine XXe siècle attribué en Île-de-France. La DRAC, qui l’a mise en œuvre, a choisi de s’intéresser en tout premier lieu à cette production de
logements de masse d’une ampleur inégalée construits dans notre région après la guerre. Ce sont des créations emblématiques d’une architecture contemporaine dépréciée ; à ce titre, elles sont au premier chef concernées par les recommandations du Conseil de l’Europe. De plus, par l’ampleur des programmes, les étendues qu’ils recouvrent, ces ensembles sont sont plus éloignés du champ
traditionnel des monuments historiques. L’outil label a semblé approprié. Le choix de labelliser les ensembles de logements est donc audacieux : nous espérons que le regard porté sur ces immeubles Change. » Valérie Gaudard, Conservation régionale des monuments historiques, DRAC-Île-de-France.
(extrait d’un entretien publié dans Beaux Arts éditions « 1945-1975, Une histoire de l’habitat – 40 ensembles « patrimoine du XXe siècle »). Créé en 1999 par le ministère de la Culture et de la Communication, le label Patrimoine du XXe siècle
vise à signaler au public, aux décideurs et aux aménageurs, "les édifices et ensembles urbains qui sont autant de témoins matériels de l’évolution technique économique, sociale, politique et culturelle de notre société". Liens Le label patrimoine XXe - www.culturecommunication.gouv.fr/Regions/DRAC-Ile-de-Fran... La Maison de l'architecture - www.maisonarchitecture-idf.org/spip.php
www.twitter.com/Memoire2cite www.beauxarts.com/produit/une-histoire-de-lhabitat/ @ LES GRANDS ENSEMBLES @ L EXEMPLE DE DIJON «LE BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE»Sylvain TABOURY, sociologue, enseignant à l’école d’architecture de Versailles. Co-auteur avec Karine Gougerot, photographe, de Billardon, histoire d’un grand ensemble, paru aux éditions Créaphis en 2004. Texte communiqué à partir de la rencontre-débat du 20 mai 2005 Organisée par le Centre de Ressources Politique de la Ville en Essonne en partenariat avec Maison de Banlieue et de l’Architecture, le CAUE 91 et CINEAM dans le cadre de l’exposition «Des ensembles assez grands: mémoire et projets en Essonne». Cet ouvrage retrace l’histoire de la cité Jean-Billardon, barre de 14 étages et de 250 logements, à Dijon, premier grand ensemble de la ville, construit entre 1953 et 1955, démoli en 2003. Sélectionné parmi les immeubles significatifs de l’architecture du XXe siècle par la direction de l’Architecture et du Patrimoine (DAPA) du ministère de la Culture, Billardon était un symbole incontournable de l’histoire du quartier des Grésilles et de l’agglomération dijonnaise, ainsi qu’un formidable témoin de l’architecture novatrice de l’après-guerre. Sollicités par le service Inventaire de la Direction régionale des affaires culturelles de Bourgogne (Drac) et par l’Office public d’aménagement et de construction de Dijon (Opac), dans le cadre de l’opération de renouvellement urbain (ORU) du quartier des Grésilles, nous avons collecté et rassemblé, de janvier à juillet 2003, les traces de cette histoire, les archives, mais aussi les témoignages, recomposant des trajectoires familiales, professionnelles, des documents iconographiques et sonores. La restitution auprès des habitants et des partenaires du projet en octobre 2004, accompagnée d’une table ronde avec différents intervenants et acteurs du quartier, a été un moment fort, inscrit dans le processus de transformation engagé sur le quartier des Grésilles. Une exposition, intitulée «Mémoires de Billardon, fragments de vies», a également été présentée dans les locaux prestigieux du musée de la Vie bourguignonne de Dijon, du 14 octobre 2004 au 31 janvier 2005.Garder une trac De fait, la démolition de la Cité Billardon, le 4 juillet 2003, restera sans aucun doute un événement sensible dans la mémoire de nombre d’habitants de l’agglomération dijonnaise. Cette barre fut la première construction d’un tout nouveau quartier – le quartier des Grésilles –, à Dijon, où près de 4000 logements ont été construits Centre de Ressources Politique de la Ville en Essonne entre 1953 et 1966 – 14970 habitants en 1968, 8263 en 2003 – sur un terrain agricole demeuré nu, à l’est du territoire communal. Les 14 étages et 250 logements de l’immeuble, élevés au milieu des champs et des jardins familiaux, où un écriteau «Chasse interdite» était encore visible quelques années auparavant, faisaient alors l’admiration des très nombreux badauds venus visiter cette toute nouvelle Cité radieuse, construite tel un
Meccano de béton et d’acier. « Immeuble révolutionnaire», «Meccano géant à l’échelle du monde moderne», les titres de la presse de l’époque donnent un aperçu de l’impact national et international de l’événement. «Des visiteurs étaient venus de toute la France et même de l’étranger, jeter un coup d’œil au chantier», rappelait un article de la presse locale le jour de la démolition. Cette « barre » de 14 étages et de 250 logements, desservis par des coursives placées tous les trois niveaux, était une déclinaison appauvrie du modèle de la Cité radieuse du Corbusier, inaugurée le 14 octobre 1952. Les appartements étaient de deux types: les uns de deux et trois pièces, situés dans les ailes, de disposition traditionnelle, orientés au sud et pourvus de loggias; les autres, de cinq pièces, situés au centre du bâtiment, du type « duplex ». Huit espaces commerciaux avaient été aménagés en rez-dechaussée. Cependant, en dépit des ressemblances et de la qualité architecturale de l’édifice, l’immeuble n’était pas une unité d’habitation au sens où Le Corbusier l’entendait. L’originalité de la Cité Billardon tient en réalité au procédé constructif qui fut utilisé lors de son édification. Elle fut la toute première à expérimenter en France le procédé de préfabrication Estiot, réutilisé par la suite pour la construction de plusieurs grands ensembles, comme le Noyer-Renard à AthisMons, la Cité des 4000 à la Courneuve, la Grâce-de-Dieu à Caen, la Croixdes-Oiseaux et Champ-Fleury à Avignon, le Gros Buisson à Épinay, SainteBarbe à Metz, le Haut-du-Lièvre à Nancy, les tours du Lancy à Genève ou encore des bâtiments d’habitation à Alger. Le mode constructif, repris sur celui des gratte-ciel américains, associait l’acier en ossature et le béton en pré-enrobage avec une majeure partie réalisée en atelier. Le procédé donnait des résultats évidents: précision remarquable, rapidité d’exécution, peu ou pas d’installations de chantier – suppression des coffrages, des étayages, des échafaudages – et surtout économie considérable de main-d’œuvre. Il s’agissait des prémices d’industrialisation dite lourde du bâtiment. Forte de cette première expérience, la commune avait ensuite réalisé deux autres cités de même type, Épirey, puis Lochères. Mais le modèle de Billardon fut perverti: dans une logique de réduction des coûts de production et de rapidité d’exécution, tous les espaces peu productifs comme les logements en duplex, les cellules commerciales, ou les très grands halls, ont été supprimés. Les deux cités comprennent 348 logements, relativement mal desservis et sans attrait, des petits logements sur un seul niveau La démolition de Billardon n’a donc évidemment pas la même signification, Centre de Ressources Politique de la Ville en Essonne « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne ni les mêmes conséquences que celles d’Épirey ou des Lochères, déjà démolies en 1992 et 2000. Cet immeuble possédait une fonction symbolique incontestable, une place à part dans la vie des résidents qui s’y sont succédé, comme dans la mémoire des habitants du quartier. Les récits que nous avons pu recueillir auprès d’une trentaine d’anciens résidents de l’immeuble nous offrent différentes représentations de l’histoire de
Billardon, et des personnes qui y ont vécu ou travaillé d’avril 1955 à décembre 2002. Les témoignages des plus anciens, arrivés parmi les premiers, en 1955, répondent aux histoires des plus jeunes, derniers occupants du rafiot, aujourd’hui démoli. Ils sont venus d’horizons divers, de Côte-d’Or, de Bretagne, d’Alsace, de la région parisienne, du Maroc, d’Algérie, du Portugal, du Cambodge ou d’ailleurs et leurs paroles traduisent l’enracinement profond de leurs souvenirs de Billardon, que certains n’auraient jamais voulu quitter. Bien sûr, la mémoire n’est pas «objective». Le discours s’élabore toujours à partir d’un présent et la disparition engendre certainement une nostalgie conduisant à magnifier les bons moments et à tempérer les plus pénibles. Mais en faisant imploser Billardon, c’est bien tout un pan de leur vie que l’on a réduit en poussière. Chaque témoin traduit avec ses mots ces petits faits de la vie quotidienne, souvent jugés sans importance, petits riens ou traumatismes, anecdotes ou événements tragiques, qui ont marqué leur sensibilité.« Une verrue dans le quartier»C’est pour ces différentes raisons esthétiques, historico-culturelles – témoignage de l’histoire des villes – et socio-symboliques – mémoire des hommes – que la Direction de l’Architecture et du Patrimoine (DAPA) du ministère de la
Culture avait décidé de répertorier la Cité Billardon parmi les immeubles représentatifs de l’architecture du XXe siècle. L’immeuble avait reçu le label «Patrimoine du XXe siècle» à la fin des années 1990. Or, ce processus de «patrimonialisation» était inconcevable pour de nombreuses personnalités locales, voire de nombreux habitants du quartier. Stigmatisé comme une «verrue» dans le quartier, l’immeuble était devenu un véritable cauchemar: dégradations, violence, difficultés et «mal-vivre» constituaient le quotidien de locataires excédés, souvent «assignés à résidence». Bagarres, agressions, cambriolages, drogue, vitres brisées, ascenseurs en panne, alimentaient manchettes de journaux et témoignages, décrivant le naufrage d’un immeuble à la dérive, devenu symbole de tous les maux. La démolition paraissait donc inéluctable, comme une délivrance, la promesse d’un avenir meilleur. Les partenaires institutionnels se devaient de mettre en scène leur capacité à changer la vie des habitants du quartier, réparer les erreurs d’une période de l’urbanisation contemporaine, dont Billardon était l’un des symboles les plus représentatifs. L’idée d’une enquête ethnographique sur l’édifice et ses locataires avait donc « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne du mal à passer dans la réflexion de certains décideurs. La mise en œuvre du projet, initié par le service Inventaire de la Direction régionale des affaires culturelles (Drac) de Bourgogne, sur les budgets de l’opération de renouvellement urbain du quartier, fut bloquée administrativement pendant plusieurs mois. Entre-temps, tous les locataires de l’immeuble avaient été relogés… (la dernière famille quitte son logement le 23 décembre 2002).
Une histoire des grands ensembles? Le travail de recherche historique sur les grands ensembles est rendu aujourd’hui d’autant plus difficile à faire comprendre que la ville issue des Trente Glorieuses est souvent considérée, avec la politique publique qui l’a programmée, comme une vaste erreur collective (A. Fourcaut). L’architecture des «tours» et des «barres», du «chem« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne. Photographie, histoire et sociologie, de monographies locales – Saint-Étienne, Villeurbanne, etc. – publiés ces dernières années sur ce thème en témoigne clairement.Cependant, on est encore loin du compte. Si plusieurs urbanistes, historiens, géographes ou sociologues1 ont récemment contribué à une meilleure connaissance du sujet au niveau national et international, l’histoire de ces quartiers d’habitat collectif reste un terrain largement méconnu, à peine exploré par les historiens locaux. En Essonne, à quelques exceptions près – Draveil, Viry-Châtillon, les Ulis, Athis-Mons ou Grigny –, rares sont les monographies ou les études locales à accorder une place de choix à l’analyse et à la présentation de ces bouleversements. Les mauvaises volontés, auxquelles nous avons parfois été confrontés dans le cadre de nos recherches dans le département témoignent des réticences que continue de susciter toute démarche d’enquête et d’analyse sur la mémoire et le devenir des grands ensembles.
La transformation en cours ou à venir d’une vingtaine de sites en Essonne dans le cadre du Programme national de rénovation urbaine, institué par la loi Borloo du 1er août 2003, et la priorité donnée à la démolition-reconstruction,
sur fond de crise du logement social, devraient pourtant poser avec plus d’acuité la question de l’appréciation de ce patrimoine départemental. De nombreuses communes mobilisées dans des programmes d’intervention n’ont qu’une vision très partielle de l’histoire de ces quartiers, de leurs évolutions, dont les conséquences ne sont envisagées le plus souvent qu’à travers le prisme d’une crise sociale impossible à juguler. Or, n’est-il pas singulier, voire dangereux, d’entreprendre des opérations de transformation urbaine aussi radicales, sans même commencer par chercher à comprendre comment, par qui et pour quelles raisons ces espaces ont été construits ou transformés, sans évaluer dans certains cas l’impact des politiques précédemment engagées?Richesse patrimoniale ou héritage encombrant, définir une nouvelle vision de la ville exige un travail d’enquête, d’expertise, une capitalisation des expériences, rarement mis en œuvre.Et c’est sans doute là le talon d’Achille d’une politique de transformation
urbaine menée dans l’urgence, qui ne peut se nourrir de capitalisation critique, et occulte le rôle crucial de l’accompagnement qualitatif et de la sensibilisation et/ou de la formation des élus, des services de l’État et des collectivités, des opérateurs et des aménageurs, des bailleurs.Ces images devenues presque ordinaires de parpaings, pans de bétons fracassés, vitres brisées laissent songeur: quel regard les résidents – et notamment
les plus jeunes – pourront-ils bien porter à l’avenir sur un environnement si violemment rejeté? Pourquoi respecter ce qui n’est bon qu’à être démoli?
Pour n’en citer que quelques-uns : FORTIN J-P., Grands ensembles. L’espace et ses raisons, Plan Urbanisme Construction Architecture (PUCA), 1997 ; PEILLON P., Utopie et désordre urbains. Essai sur les grands ensembles d’habitation, La Tour d’Aigues, Editions de l’Aube, 2001 ; DUFAUX F., FOURCAUT A., SKOUTELSKY R., Faire l’histoire des grands ensembles. Bibliographie 1950-1980, ENS éditions, 2003 ; TOMAS F., BLANC J-N., BONILLA M., Les grands ensembles, une histoire qui continue…, Publications de l’université de Saint-Etienne, 2003 ; DUFAUX F., FOURCAUT A. (dir.), Le monde des grands
ensembles, Créaphis, 2004.« Pour une histoire des grands ensembles en Essonne », Les Cahiers de la Maison de Banlieue et de l’Architecture, n° 11, mai 2005« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »
Centre de Ressources Politique de la Ville en Essonne
Les enjeux du projet
À Dijon, le projet a mis de long mois à se concrétiser. L’enjeu de ce travail était double:
■ Un enjeu de connaissance et d’analyse de l’histoire et des différentes étapes de l’évolution urbaine et sociale de l’immeuble et du quartier, des vécus, trajectoires résidentielles et familiales des habitants de la cité. Il a été réalisé à travers:
– une recherche historique dans les archives du bailleur, de la commune, des journaux locaux, de l’agence d’urbanisme, etc., replaçant l’étude dans le contexte général de l’histoire de la France de la Reconstruction et des quarante dernières années;– une écoute, dévoilant les différentes représentations de ce quartier, non plus
à partir de critères ou de théories de spécialistes, mais en suivant pas à pas(mot à mot) les trajets, les images qu’y déposent les habitants et les acteursdu quartier. Le travail artistique – photographies, textes – ayant alors pour fonction de réintroduire ces regards croisés dans la circulation de la ville,d’en faire des éléments de partage, de réflexio« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »Centre de Ressources Politique de la Ville en EssonneCes recherches ont permis de retracer les différentes étapes de construction et de transformation de cet immeuble dans son territoire, ainsi que l’évolution d sa composition socio-démographique. Une iconographie importante a pu être collectée et répertoriée sur CD-Rom. Une présence longue – deux à trois jours par semaine pendant cinq mois – a été assurée sur le terrain, favorisant notre immersion et l’observation du quotidien des habitants du quartier, le recueil d’une parole informelle, permettant d’expliciter notre démarche, ses objectifs, son intérêt, l’instauration d’une quotidienneté, de relations de confiance. Pour cela, une présence régulière aux différentes manifestations, aux réunions et aux événements publics liés au quartier et une fréquentation de lieux de rencontre et d’échanges préalablement identifiés ont été nécessaires.Des rencontres collectives et individuelles ont été organisées avec les partenaires – associations, structures et personnes-relais sur le quartier – nous permettant d’être rapidement identifiés et de baliser précisément notre rôle – le rôle de chacun – dans le projet, de recueillir leur connaissance du terrain, leurs représentations et leurs réflexions sur le projet. Les ateliers avec les techniciens, les élus et les associations concernées devaient définir précisément: ● les objectifs à court, moyen et, le cas échéant, long terme;
● les actions à court, moyen et long terme;
● les modalités de leur déroulement.
Ces rencontres avaient également pour objectif de faire fonctionner le«bouche-à-oreille», qui demeure bien souvent le principal vecteur d’information pour ce type de démarche. Elles nous permettaient également de nouer des premiers contacts avec les habitants et les personnes-relais impliqués dans la vie du quartier. Ont été mis en œuvre:
● un moment de rencontre-discussion avec les habitants sous la forme d’une soirée projection-débat: présentation du travail de recueil de mémoire, personnes et structures porteuses, méthodes, finalités; définition en commundes modalités de leur participation au projet.
● sollicitation et information de la presse locale (journaux, radio, télévision), des bulletins associatifs, de la communication institutionnelle (ville, communauté
d’agglomération, bailleur, etc.) pour relayer et présenter le plus précisément possible la démarche entreprise et les personnes en charge de ce travail;
● des entretiens compréhensifs, individuels, en couple ou en petits groupes sous la forme d’entretiens semi-directifs de type «récits de vie(s)», recueillisauprès d’habitants ou d’anciens habitants du quartier, de professionnels travaillant ou ayant exercé leur activité dans le quartier, d’élus ou de responsables associatifs.
« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »
Centre de Ressources Politique de la Ville en Essonne
Les entretiens ont été enregistrés et traités sur support numérique – mini-disc –, et les documents et les objets soigneusement inventoriés et/ou scannés.Ces entretiens avaient pour objectifs d’enregistrer non pas l’histoire de ce quartier, mais la manière qu’avaient nos interlocuteurs de dire leur propre histoire, cequi faisait mémoire pour ces personnes en contact étroit avec le quartier, natifs ou de passage, enracinés ou nouveaux venus. Il s’agissait de souvenirs, d’impressions d’enfance, de petits faits de la vie quotidienne parfois jugés sans importance, d’événements heureux ou tragiques, qui ont marqué leur sensibilité. Cela supposait donc que l’on prenne le temps, précisément de parler et d’écouter. Les entretiens se sont déroulés de préférence au domicile des personnes, pas dans la rue ou une salle impersonnelle, mais dans la sphère privée plus à même de laisser subvenir ces épopées de l’intime. L’objectif n’était pas de faire une archéologie du quartier, ni même d’enfermer nos interlocuteurs dans la norme de la personne-type qui habite un grand ensemble, mais bien de montrer que cet immeuble était composé de fragmentsde vies, de destins d’hommes et de femmes singuliers. Il s’agissait de montrer
comment, à un moment donné, ces personnes, venues parfois d’horizons lointains, se sont arrêtées là et ont enrichi ce lieu de leurs histoires et de leurs trajectoires particulières.
Nous avons donc insisté sur les trajectoires familiales et professionnelles de chacun: origines, parcours résidentiels, étapes et ruptures de vies – mariage, naissances, emplois successifs, divorces, décès, etc. –, points de repères autour desquels chacun construit «son temps», étapes qui organisent la durée, le vécu familial, domestique, les faits d’une vie et les événements de l’histoire. Le souvenir trouve également un support concret dans l’espace et les multiplesbouleversements du bâti et du cadre de vie. Démolitions, reconstructions,aménagements, suscitent une perte de repères, et invitent d’autant plus à faireun travail de mémoire. Dans cette perspective, ont été évoqués les souvenirs attachés plus précisément au quartier des Grésilles et à l’immeuble Billardon.Les personnes interrogées ont été invitées à s’appuyer le plus largement possible sur des descriptions détaillées (déménagement, logements successifs, accessibilité au travail ou aux équipements et services, nombre et identité des commerces, relations de voisinage, espaces collectifs), leurs pratiques (loisirs, vie scolaire, pratiques commerciales, etc.), les événements (fêtes, accidents, etc.) ou personnes marquantes; leurs perceptions du quartier et de son évolution – qu’ils y habitent toujours ou pas –, leurs projections éventuelles dans l’avenir (liste de thèmes non exhaustive).De février à juin 2003, une quinzaine d’entretiens ont pu être réalisés auprès d’une trentaine d’anciens locataires de l’immeuble, des premiers résidents de
Billardon dans les années 1950 aux derniers occupants, récemment relogés. « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne Des outils pour l’action: la restitution Tout au long de l’étude, nous avons rencontré et consulté régulièrement l’ensemble des institutions et des partenaires concernés par la démarche, afin de leur soumettre les premiers éléments de notre travail, recueillir leurs commentaires, leurs suggestions et critiques. Ces rencontres ont été l’occasion de partager une réflexion, d’élaborer des propositions de restitution aux différents publics.Malgré nos craintes initiales, une restitution de qualité a pu être proposée aux habitants, grâce à l’implication très forte de l’Opac de Dijon, véritable porteur du projet, et dans une moindre mesure du service Inventaire de la Direction régionale des affaires culturelles de Bourgogne. Leur implication a permis de trouver différents partenaires financiers, comme la Caisse des Dépôts et Consignations ou la communauté d’agglomération.
De notre côté, sur la base du rapport et du reportage photographique que nous avions remis à nos commanditaires, nous avons pu convaincre les éditions
Créaphis, reconnues pour la qualité de leurs publications de documents d’histoire, de sciences sociales et de photographie, de formuler une proposition éditoriale de qualité. Sur la base de nos recommandations, deux pistes de restitution ont été privilégiées:
● une exposition, événement fort et fédérateur, pouvant susciter des échanges,des moments de rencontre entre habitants du quartier et résidents extérieurs,
dans une optique d’ouverture du quartier au reste de la ville, les productions de certains groupes d’habitants pouvant être également valorisées, ainsi que les objets ou films recueillis dans le cadre du projet;
● une publication, associant textes et documents d’archives sur l’histoire du quartier, une sélection de témoignages et de photographies professionnelles
et amateurs, et accompagnant cette exposition, pour une diffusion plus large des résultats de l’opération, et une appropriation durable du projet par les habitants du quartier et les autres résidents de l’agglomération.Cette restitution avait également pour objectif de mettre en lumière les différentes préoccupations des habitants, permettant aux acteurs de terrain de disposer d’une base de connaissances pour définir et programmer leurs interventions, à court, moyen et long terme. Un tel travail fait émerger des représentations collectives, des divergences, des tensions qu’il faut savoir analyser et traiter pour améliorer les rapports sociaux et les conditions de vie des habitants.Encore faut-il que ces paroles soient prises en compte pour permettre aux institutions de redéfinir leurs modes d’intervention sur la ville: vaste chantier… Sylvain TABOURY,sociologue, enseignant à l’école d’architecture de Versailles Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. Jérôme (Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine @ Les films du MRU -Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke archipostcard.blogspot.com/search?updated-max=2009-02-13T... - - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..
passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document Gwenaëlle Le Goullon (LAHRA), auteur du livre "la genèse des grands ensembles",& Danièle Voldman (CHS, Centre d'Histoire Sociale), expliquent le processus qui a conduit l'Etat, et le ministère de l'urbanisme &de la reconstruction à mener des chantiers exp www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... mémoire2cité & l'A.U.A. - Jacques Simon (1929 - 26 septembre 2015) est un architecte paysagiste formé à l'École des beaux-arts de Montréal et à l'École nationale supérieure du paysage de Versailles. Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre", Jacques SIMON, paysagiste dplg, Premier Grand Prix du Paysage en 1990*, réalise avec eux des installations paysagères éphémères principalement dans des champs et visibles du ciel. Avec sa palette d'artiste, Jacques SIMON réinvente des paysages comme les agriculteurs eux-aussi à leur façon les créent et les entretiennent. Le CAUE du Rhône vous invite à venir découvrir ses travaux au travers d'un kaléidoscope de photographies empreintes de spontanéité, de fraîcheur et d'humour. Cette exposition nous interpelle sur le caractère essentiel d'une nature changeante, fragile, sur l'importance d'une activité agricole diversifiée et sur la nécessaire évolution du métier de paysan. Elle nous amène aussi à voir et à interpréter ce que l'on voit, elle éveille en nous le sens de la beauté du paysage en conjuguant les différentes échelles de perception et de lecture; à pied et à vol d'oiseau, à la fois l'échelle humaine, terrestre, géologique, forestière, hydrologique, biologique mais aussi esthétique et symbolique. Jacques Simon, paysagiste cosmopolite est l'un des principaux acteurs du renouveau de la pensée paysagère en France dans les années 60 et 70 conjuguant avec cohérence sa pratique de paysagiste, de voyageur, d'éditeur, d'enseignant avec son approche plus artistique du paysage, subtile, sensible et humaine de la nature avec la réalisation de "performances". Ses projets paysagers comme ses interventions paysagères éphémères sont marqués par la mobilité, la fragilité, une empathie avec le lieu, par la dualité même du voyage : découverte / évanouissement, création / disparition. Jacques Simon dessine, écrit sur le paysage, "une surface", un peu à la manière du land'art avec les techniques et les outils du jardinier, du cultivateur. Il ne s'agit plus de représenter la nature mais de l'utiliser en créant avec et dans le paysage. L'intention de Jacques Simon n'est pas d'apposer sa marque sur le paysage mais de travailler instinctivement avec lui afin que ses travaux-installations manifestent même brièvement un contact en harmonie avec le monde naturel. "On dit qu'il a bouleversé l'esprit du paysage, il a remis les choses essentielles à leur place. Il rit de l'importance qu'on veut bien lui donner, fils de l'air, il ne veut rien de plus que passer dans les cerveaux pour les ventiler, les rafraîchir et non pour les modeler; son "importance", il l'a ailleurs et autrement; il est historique parce que dans son temps, dans celui qui s'écoule et non dans celui qui passe". Extrait de "Jacques Simon, tous azimuts", Jeanne-Marie Sens et Hubert Tonka, Pandora Editions, 1991. Il a introduit une nouvelle conception de l'art du paysage proche du Land art, Jacques Simon est l'auteur d'une série d'ouvrages sur différents aspects du paysage et abordés d'un point de vue technique. Il a travaillé de 1964 à 1966 en collaboration avec Michel Corajoud. Il a conçu le Parc de la Deûle (qui lui a valu le Grand Prix national du Paysage en 2006, après l'avoir reçu une première fois en 19901).
Il est mort le 29 septembre 20151 et a été incinéré à Auxerre Le paysagiste Jacques Simon s'est éteint le 26 septembre dernier à l'âge de 86 ans. Diplômé de Versailles en 1959, il fut sans doute l'une des figures les plus emblématiques, les plus géniales et les plus originales du paysagisme contemporain. Premier grand prix du paysage et prix du Conseil de l'Europe pour le parc de la Deule, on lui doit des principes de compositions très forts, autour du nivellement, du traitement du végétal ou de la place laissée au vide. Ses intuitions comme ses travaux ont inspiré tous les paysagistes avec lesquels il a travaillé, à commencer par Michel Corajoud ou Gilles Vexlard. On lui doit un profond renouvellement dans la composition des grands ensembles, ses réalisations -comme le parc Saint-John Perse à Reims- restant des modèles pour tous les professionnels. Jacques Simon développa également une production d'œuvres plus éphémères, attentif aux mouvements et aux transformations. Pédagogue talentueux et généreux, il le fut autant par les documents techniques et la revue qu'il publia, que par ses interventions en atelier devant plusieurs générations d'étudiants de l'école. Les paysagistes perdent un de leurs plus féconds inspirateurs. L'ENSP s'associe au deuil de sa famille et de ses proches. Témoignages à la mémoire de Jacques Simon
Dans les années 1990 à l'école du Paysage de Versailles, lorsque nous entrions en première année, la première satisfaction était d'acquérir du nouveau matériel d'expression plastique. Encre, feutres, supports en grand format et sur papier calque...mais aussi découvrir des livres de notre professeur Jacques Simon : des carnets de dessins et de croquis, des photomontages découpés aux ciseaux.
En amphithéâtre lors de conférences et séances de projections de diapositives, Jacques Simon évoquait surtout sa capacité à piloter un hélicoptère. Je viens de retrouver un extrait d'un article à ce sujet..« (...) Car depuis une dizaine d'années, le Bourguignon a trouvé une solution à son imagination en bourgeonnement permanent. Jacques Simon crée ‘pour lui tout seul'. Ni commande ni concours. Mais des messages géants écrits dans les champs et seulement visibles d'avion ou d'hélicoptère. Un art éphémère et privé dont il s'amuse, les veilles de moissons, tout autour de sa ferme de Turny, dans l'Yonne.Et là, plus rien ne l'arrête. Les agriculteurs du coin ont pris l'habitude de le voir faucher des allées entières de luzerne. De l'apercevoir écraser d'interminables chemins de phacelia, un graminé californien qui existe en trois couleurs (blanc, bleu, rouge). De l'observer dans son hélicoptère photographiant le résultat. Ses messages sont des hommages ou des avertissements. L'un prévient : ‘Hé, si tu n'as plus de forêt t'es foutu.' Un autre : 'Sans les paysans, je m'emmerde. Signé : la Terre.' Même l'hiver, Jacques Simon s'adonne à cette calligraphie paysagère. (...) ».Extrait paru dans La Croix l'événement du dimanche 11 et lundi 12 juin 1995, par Frédéric Potet, rubrique Culture. son site simonpaysage.free.fr/
file:///C:/Users/user/Downloads/B_Blanchon_AUA.pdf Interview to Jacques Simon incleded on the dvd that accompanies book "Metropoles en Europe", from the exhibition "Lille - Metropoles en Europe". The French landscape architect Jacques Simon's love for nature first developed on his father's tree farm and then deepened when he traveled as a young man to Sweden and then Canada, where he attended art school in Montreal while working as a lumberjack. Between 1957 and 1959, Simon studied at the École Nationale de Horticulture. He has since become an important link in the renewal of French landscape architecture, combining the Anglo-Saxon and Scandinavian garden cultures he absorbed in his travels with classic Latin structures. He works as often as possible in situ, and does not shy away from driving the tractor himself.
www.youtube.com/watch?v=OyBnqrUlK9U turny.chez.com/A0archives/jSIMMON.htm Jacques Simon, Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ». Même l'hiver, il s'adonne à cette calligraphie paysagère».La Croix dimanche 11 et lundi 12 juin 1995, simonpaysage.free.fr/ Jacques Simon écrit ses premiers articles dès la fin des années 1950 pour des revues comme Maison et Jardin et Urbanisme. En 1965, il signe l’un de ses premiers livres, L’Art de connaître les arbres. strabic.fr/Jacques-Simon-Gilles-Vexlard … jacques simon & Le parc des Coudrays - Élancourt-Maurepas, 1970 strabic.fr/Jacques-Simon-Gilles-Vexlard … simonpaysage.free.fr/ Jacques Simon - Espaces verts n° 27, avril-mai-juin 1971, p. 44-45 Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre" paysagiste dplg, Premier Grand Prix du Paysage en 1990*, www.youtube.com/watch?v=OyBnqrUlK9U …ici es EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi www.youtube.com/watch?v=lDEQOsdGjsg ,
A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses
En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique. www.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.
Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.
La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.
- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.
- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France13.
Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)
14Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.
- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.
Public Domain Book: The history of magic : including a clear and precise exposition of its procedure, its rites and its mysteries
by Lévi, Eliphas, 1810-1875
Published 1922
Woodrow Wilson Hall, formerly known as the Shadow Lawn mansion, was built in 1929 at a cost of $10.5 million as the private residence of former F.W. Woolworth Co. president Hubert Templeton Parson and his wife Maysie. Philadelphia architect Horace Trumbauer and his assistant Julian Abele, the first African-American professional architect, designed the mansion in the neoclassical French tradition. The construction incorporates limestone quarried in Bedford, Indiana (also used in the Empire State Building), steel, concrete, and 50 varieties of Italian marble.
Wilson Hall
The mansion stands upon the precise site of the original Shadow Lawn, which was destroyed by fire in 1927, soon after $1 million had been spent on its refurbishing. That former colonial frame structure contained 52 rooms and was built in 1903 for John A. McCall, former president of the New York Life Insurance Co.
It was later purchased by Joseph B. Greenhut, the head of Siegel, Cooper Co., a New York department store. Greenhut loaned the mansion to President Woodrow Wilson during the campaign of 1916 as the presidential summer home. Thereafter it was known as the Summer White House.
The current mansion fell under municipal ownership in the Depression, and later served as the site of a private girls' school until the University (then known as Monmouth College) acquired the property in 1956.
The mansion underwent extensive restoration in the 1980s, beginning in 1984 as part of Monmouth's 50th anniversary. Funding for the $770,000 project came from the McMurray-Bennett Foundation, the National Endowment for the Humanities, the State of New Jersey, and private contributions.
In 1978, along with the University's Guggenheim Memorial Library, Wilson Hall was entered in the National Register of Historic Places. In 1985, the U.S. Department of the Interior designated it a National Historic Landmark.
The building encompasses some 130 rooms on three main floors, plus rooftop and lower-level rooms. In the main portion, there are 96 rooms, which include what once were 17 master suites and 19 baths. Each of the baths was decorated and furnished in a different period and had gold-plated or silver-plated fixtures.
Covering the parquet floors were 60,000 square feet of carpeting and 146 rugs specially designed and loomed in Europe and Asia. It took four years to complete the order. A rug woven in the Canary Islands and measuring 24 feet by 93 feet covered the main floor of the Great Hall, also known as Haslam Slocum Hall.
Wilson Hall has been described in newspapers throughout the world, is featured in many books on architecture and art, and has been used as backdrop for innumerable print ads and television commercials. It also served as the setting for the 1982 film version of Annie.
Woodrow Wilson Hall is the administrative center of the University, though classes are still held in the building.
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.
Year of the Dragon - to be precise, 35 of them. That's the number of years that the 3-axle variant of the Dennis Dominator in its Dragon iteration operated in service in Hong Kong, so as February 2024 marks the start of the latest Lunar New Year, a good excuse to illustrate some of the type.
Citybus placed their first examples in service in 1994, with 20 single-doorway 86 seaters assembled in Portugal by Caetano and their Duple-Metsec body kits incorporating an Alexander-style frontal treatment to present a common 'face' across almost all of the active double-deck fleet - Atlanteans, Olympians and Dragons alike.
702 was the oldest of the type in use when this shot was taken at Pacific Place on Hong Kong Island, sister bus 701 having been taken out of service and modified several years earlier to an experimental trolleybus, in which configuration it remained long after the project ended.
This image is copyright and must not be reproduced or downloaded without the permission of the photographer.
Luca Giordano (1634-1705), active in Naples
Visitation of Mary, c. 1696
Giordano was famous for the speed with which he carried out his assignments. In his later Spanish work, however, he shows particular care in the classifying, balanced composition and the precise drawing as well as in the subtle, painterly-fluid elaborateness of the figures. The composition of the painting is based on an engraving after Rubens' Visitation on the side wing of the altar with the Descent from the Cross in the Antwerp chapel.
Luca Giordano (1634-1705), tätig in Neapel
Heimsuchung Mariae, um 1696
Giordano war für die Schnelligkeit berühmt, mit der er seine Aufträge ausführte. Gerade in seinem spanischen Spätwerk zeigt er jedoch besondere Sorgfalt in der klassizierenden, ausgewogenen Komposition und der präzisen Zeichnung ebenso wie in der subtilen, malerisch-flüssigen Durchgestaltung der Figuren. Die Komposition des Bildes geht auf einen Stich nach Rubens' Heimsuchung auf dem Seitenflügel des Altares mit der Kreuzabnahme in der Antwerpener Kapelle zurück.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
AMPLIFIED SHOCK AND AWE
The 2014 Supra SA350, SA450 and SA550 combine shocking wakes, precise handling and an awesome interior, but in true Supra style this wake boat has upped its shock value. The Supra SA shines with new metal flake gel coat colors, Blacked-out and Verge hull graphic as well as new Pro Edge Tower Contrast color options. The SA has gone soft, but durable on the inside with the abrasion resistant stain protected SupraSkin vinyl from Spradling; bringing together new colors and textures for an even more luxurious look and feel. A new aggressive windshield lifts the eyes of the boat to the level of refinement shared by the lofty attitude of the Barrage Front End and powerfully calming Battle Prep Transom. The SA still attacks the water with 350-550 horses of Indmar power, depending on your engine choice, pro hull design and precision underwater gear. Snap-out carpet covers a fiberglass floor for a quiet convenient base to a plush interior. 900 pounds of hard tank sub structural floor Liquid Lead ballast, a loaded Roswell Pro Edge Tower, Zero Off GPS speed control, the SmartPlate, VISION Touch Rider Profiles and 1,300-pounds of available Flex ballast will wake-up dreams of going pro. The Supra SA is shock and awe.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 13
Capacity - Weight: 1,900 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
AMPLIFIED SHOCK AND AWE
The 2014 Supra SA350, SA450 and SA550 combine shocking wakes, precise handling and an awesome interior, but in true Supra style this wake boat has upped its shock value. The Supra SA shines with new metal flake gel coat colors, Blacked-out and Verge hull graphic as well as new Pro Edge Tower Contrast color options. The SA has gone soft, but durable on the inside with the abrasion resistant stain protected SupraSkin vinyl from Spradling; bringing together new colors and textures for an even more luxurious look and feel. A new aggressive windshield lifts the eyes of the boat to the level of refinement shared by the lofty attitude of the Barrage Front End and powerfully calming Battle Prep Transom. The SA still attacks the water with 350-550 horses of Indmar power, depending on your engine choice, pro hull design and precision underwater gear. Snap-out carpet covers a fiberglass floor for a quiet convenient base to a plush interior. 900 pounds of hard tank sub structural floor Liquid Lead ballast, a loaded Roswell Pro Edge Tower, Zero Off GPS speed control, the SmartPlate, VISION Touch Rider Profiles and 1,300-pounds of available Flex ballast will wake-up dreams of going pro. The Supra SA is shock and awe.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 13
Capacity - Weight: 1,900 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Field Trip - Roughdown Common - 13/06/17
I had an eventful trip to Roughdown Common whereby we planned to run as many traps as possible, conditions were absolutely perfect, warm and humid with some cloud cover.
We started the evening setting the first trap up in the field where there were three Cattle, Belted Galloways to be precise.
They greeted us and then seemed to leave us alone for a bit after cleaning the cars with their tongues and having a good old itch on Steve's rear bumper.
We left the field to set up a few more traps and then returned back to the car for more equipment, to our agony the trap had been thoroughly inspected by the cattle and there was slobber all over the trap and they did a mighty fine job of smashing the bulb but it could have been A LOT worse as the fragile plastic collar (the second most important part of the trap after the bulb) was still intact! How on earth it escaped being trodden on I do not know.
Luckily Ian said he would nip back home and grab his spare bulb and we moved the trap through the gate and shut the gate....but they had done their 'investigating' and moved off for the rest of the night down the bottom of the field.
After setting all the traps were set up, the battery operated one was low on juice..another minor set-back as we would only get possibly 2 hours life out of the tracer lithium ion battery.
Things come in three's and of course nothing could be worse than a generator stopping, yep that's what happened...trying to get it started again flooded the spark plug and luckily I could use the spare that I had brought with me.
Onto the moths and boy were we in for a night! The species just kept coming and coming and at one stage I couldn't keep typing the list.
There are a few to check but best species so far were singles of Obscure Wainscot, Anania perlucidalis, Anarsia innoxiella and two good plume species (one to be checked) Merrifieldia leucodactyla/baliodactylus and Gillmeria pallidactyla.
Thanks to Roger, Steve and Ian for helping out until the small hours, another successful trip with at least 160 species seen!
Catch Report - 13/06/17 - Roughdown Common - West Herts - 7 traps in total - 2x 125w MV Robinson Trap 1x 160w MBT Robinson Trap 1x 40w Actinic + 15w LED Trap 1x 80w Actinic Trap 2x 20w Wemlite Actinic Trap 1x 15w Actinic Portable Heath Trap
85 Macros & 75 Micros
160 species
Numbers approximate
Macro Moths
Alder Moth 2
Beautiful Hook-tip 6
Blue bordered Carpet 1
Brimstone 4
Broken-barred Carpet 2
Brown Rustic 5
Brown Scallop 2
Buff Ermine 1
Buff-tip 1
Cinnabar 1
Clay 1
Clouded Border 4
Clouded Brindle 1
Clouded Silver 8
Common Carpet 2
Common Marbled Carpet 4
Common Pug 1
Common Swift 3
Common White Wave 2
Coronet 12
Dark Arches 4
Double Square-spot 2
Double-striped Pug 1
Elephant Hawk-moth 2
Fern 3
Figure of Eighty 2
Flame 3
Flame Shoulder 2
Freyer's Pug 1
Garden Carpet 1
Ghost Moth 1
Green Carpet 5
Green Pug 5
Green Silver-lines 1
Grey Pug 5
Haworth's Pug 1
Heart & Club 1
Heart & Dart 10+
Ingrailed Clay 10
July Highflyer 1
Knot Grass 1
Large Nutmeg 4
Large Yellow Underwing 2
Lesser Yellow Underwing 1
Light Arches 1
Light Emerald 5
Lime-speck Pug 2
Maiden's Blush 1
Maple Prominent 2
Marbled White-spot 3
Middle-barred Minor 3
Miller 1
Mottled Beauty 5
Mottled Pug 1
Mottled Rustic 5
Obscure Wainscot 1
Orange Footman 1
Pale Prominent 1
Peppered Moth 2
Poplar Grey 1
Privet Hawk-moth 1
Purple Bar 2
Riband Wave 2
Rustic Shoulder-knot 2
Scorched Wing 2
Setaceous Hebrew Character 2
Shoulder-striped Wainscot 1
Shuttle-shaped Dart 2
Silver-ground Carpet 2
Small Angle Shades 1
Small Dusty Wave 1
Small Elephant Hawk-moth 1
Small Fan-foot 2
small Square-spot 1
Small Yellow Wave 1
Snout 2
Straw Dot 10
Swallow Prominent 1
Sycamore 2
Tawny Marbled Minor 2
Treble Lines 3
Turnip Moth 1
Uncertain 3
White Pinion-spotted 1
Wormwood Pug 1
Micro Moths
Agapeta hamana 4
Agapeta zoegana 10
Agonopterix arenella 2
Agonopterix purpurea 1
Aleimma loeflingiana 10
Anania hortulata 3
Anania perlucidalis 1
Anarsia innoxiella 1
Anthophila fabriciana 1
Aphomia sociella 1
Archips podana 2
Archips xylosteana 3
Argyresthia conjugella 2
Argyresthia curvella 2
Blastobasis lacticolella 3
Blastodacna hellerella 1
Bryotropha terrella 5
Caloptilia populetorum 1
Caloptilia robustella alchimiella 2
Caloptilia syringella 1
Celypha lacunana 15
Celypha striana 5
Chrysoteuchia culmella 5
Clepsis consimilana 5
Cnephasia sp 10
Cochylimorpha straminea 5
Cochylis dubitana 2
Cochylis molliculana 1
Crambus lathoniellus 5
Cydia fagiglandana 2
Dichrorampha sp 4
Ditula angustiorana 2
Emmetia marginea 1
Endothenia gentianaeana marginea 2
Epinotia bilunana 2
Epiphyas postvittana 1
Eucosma cana 10
Eudonia lacustrata 5
Eudonia pallida 3
Eulamprotes unicolorella 5
Eupoecilia angustana 15
Gillmeria pallidactyla 1
Grapholita funebrana 1
Gypsonoma sociana 1
Hedya nubiferana 5
Hedya pruniana 5
Homoeosoma sinuella 2
Merrifieldia leucodactyla or baliodactylus 1
Metzneria metzneriella 10+
Mompha ochraceella 1
Mompha subbistrigella 3
Nemophora degeerella 1
Nephopterix angustana 2
Notocelia trimaculana 15+
Notocelia uddmanniana 2
Pammene albuginana 1
Pandemis cerasana 10+
Pandemis cinnamomeana 1
Pandemis heparana 5
Paraswammerdamia albicapitella 1
Parornix sp 1
Phycita roborella 1
Prays fraxinella 2
Pseudargyrotoza conwagana 10+
Pseudoswammerdamia combinella 1
Scoparia ambigualis 5
Scoparia pyralella 10+
Scythropia crataegella 1
Stigmella sp 1
Strophedra weirana 1
Teleiodes luculella 5
Thiotricha subocellea 3
Tinea semifulvella 1
Tortrix viridana 10+
Udea olivalis 3
Fangruida famous classic 500 selection (multi-lingual global version control, e-books)
Sound shook the world, a permanent favorite sayings ------ Fangruida classic quotations motto Selected Translations (English, French, German, Russian, Spanish, Japanese, multilingual electronic version control Version 2012- 3.02)
Fang Rui Da life work a lot, widespread popular that many of his classic quotes the classic motto, inspirational, gives a reverie, giving encouragement, giving teachings, gives insights. Admire and read of him classic quotations classic motto, as if reciting a poem as in, one of which enjoy a painting, listening to a song sounds romantic dance, this is the real charm of the square where the motto Investor quotations. herein is a selection of II. According to the author and the author wishes to question, selected multi-language version control, so that the parties to the reader and appreciation. square Investor classic quotations set of natural science, social science and literature and art in a beautiful, elegant, deep, subtle, mood, right, worthy of the world famous celebrities masterpiece. concise, three words two languages, the finishing touch, the words intended to do endless. Such learning and studying, you can achieve pleasing results, truly understand and analyze every word, every precise meaning and profound concept of the word. So, these are masterpieces, not because of the time and place and change. There are a lot of doubts in the interpretation of the e-book version, elaborate parties Investor classic quotations classic maxim, some more accurate complete Some lacks, and did not really understand and appreciate square Investor classic quotations classic maxim meaning lies. After worth complemented amended. multilingual control version, is to make up for this kind of loss and miscarriage of justice, but also compile and translation have been and author's discussion and validation, without any copyright disputes, authorized by the author disclosed in the city. for the public to enjoy reading. <>, <>, <> and so will continue to publish the advent of appreciation for readers around the world. Finally, for the assistance and edit the translation of you to express my deep gratitude to the friendly colleagues.
(Eds: otis Translation: Adeline / Augelire proofread: fred Audit: Boris)
July 2011 in Paris, Copenhagen, Amsterdam, New York.
_____________________________________________________________
Look at the history of the human individual, but is a few decades, centuries, but rather look at the history of the entire human population is a few hundred thousand years, and put him constantly Expansion of the natural world to appreciate and taste.
Human society is not an abstract body, but a real kaleidoscope.
Humanity the greatest and most powerful place is not that he's tough and mana, the first is constant self-denial.
As long as human society, everything is forward series, regardless of the final outcome of this evolution of how loud or how ruthless .----- (square Investor famous classic).
When life is about to end, you first farewell this life is not only the world, but nature and the universe temporary farewell.
World as colorful palette, from time to time to issue a variety of transformation, some beautiful, some haze, some wonderful, some gray.
The world is not eternal day regulation and order, but the world would not be a permanent disorder or chaos filled the whole planet. Order and disorder kept forever in grafting seesaw. Otherwise, the whole of nature and human society will tends to destroy or complete collapse collapse .---- square Investor classic saying.
Where that is the reality of existence, the reality of it all is that there are no real existence and no existence in reality, as absurd .------- are Fangruida famous classic)
God created the world, the world that God created.
Only human beings truly enter into the kingdom of heaven, in order to truly comprehend the beauty of paradise.
Desires and greed, is a cross to a natural divide human society from the animal kingdom; wisdom and labor - wealth, a huge man from the animal cross the bridge to a rational human society.
Reason and truth is eternal connection, on the contrary, wild and falsehood connection, and ultimately not waiting astray is a failure.
World Vientiane, everyone is in a hurry to come and go, but some passing away, but you can still figure detour back; some people do not leave, the soul has been long dead ..... everyone can flirtation, history will provide wonderful variety of rodeo arena.
That the world is too beautiful rose garden with flowers, it was a naive and childish;. That the world is Heilongtan dark, it is a sad and incompetence of the world is a reality, but also a bit romantic and sentimental .--- - Fangruida classic saying.
Immature and pessimism can not create the world, only the courage and strength to innovation in the world.
World colorful, flowers Tuyan, but that does not mean all the world to disorganized, chaotic disorder. The world and the universe is not chaos to Jiuxing flying, yin and yang imbalance; the world and the universe through its self-regulation, self-compliance with its reasoning, the chaos and gradually establish a new domain.
Simply conquer and dominate the world, is purely natural animal beast game; build the world heaven, can be completely freed from the Beast game.
Natural human animal is not terrible, terrible is its endless sprawl and expansion, it will allow to create into a ruin, so rational degenerate into evil, let wisdom destruction in stupidity. (Fangruida famous classic)
World history is not with petals that can weave together a beautiful wreath, world history throughout human history actually use the compilation of flesh and blood and sweat out of scroll paintings depicting famous classic .----- Fangruida
Great natural, great universe, it really is the mother of all mankind and life.
Numerous sequences of human history, always natural and ruthlessly presented or presented. Offside and transposition only in the basic sorting sequence appear positive, rebellious or dislocation will be replaced this kind of evolved into a history of bumps and setbacks. In other words, the natural history of mankind is only positive, reverse or reverse does not occur. The difference with this is the natural evolution of the universe sequence, forward and inversion often exchange.
Anatomy of the whole human society, which is the anatomical structure of the human body and the whole of nature is closely related to the world of him and the interdependence of social groups and individual tectonic structure.
If we say that the universe will collapse to collapse, then that is to say, prior to this human society and self-collapse of extinction. The real danger is not that the hazards and predators, but in human society and human beings defects and significant inhibition and overcome mistakes and I do not know , which will itself lead completely destroyed.
Wonderful and fanciful fantasy world is illusory phantom or mirage and reality difficult to build human society is the most real world and can not decline to exist forever. (Fangruida famous classic).
The world is not "Superman", the world's only permanent hard work in the vast field of farming labor husband kept it .----(Fangruida famous classic)
The sun rises in the east every day, day after day, life swing. Nature has actually been displaced, and human world is also moving in the displacement movement. Earth life can be resurrected in the other planets, it is a gift from God and good luck.
Animal world can not rudderless, lions, tigers, wolves, the sheep, horses, geese, monkeys ..... human society is the family of the group, could not disorderly, "the leader, the leading pack ., "Otherwise, everything will do everything to destroy or perish subvert the natural and fundamental law, it is very scary silly deteriorate even in the solar system, the sun is the king of the Ninth; no sun, the earth, the moon will zero.
Day after day, year after year, the Earth, the moon, the sun is constantly rotated; life, the human heart is with the rotation of day and night constantly pulsates ...... Seen in this light, Once stagnation, rotating and pulsating, nature and life will be how the outcome, rotating planets and life beat, it does not mean all the success Shengongguifu nature of human society, for him, the rotation will always be unalterable..; The first thing you want to beat is the survival of human life, the human world and the natural world if radical departure, beating of human life and the entire human society will tend to collapse and die.
There are a variety of life perception and interpretation, some clear, some obscure, some bright, some dark. In fact, both positive and anti, right and wrong, are left in the world and future generations valuable voice.
The struggle of life, wealth, power, fame, status, love, family, career, trying to brilliant pinnacle, everything can not be overstated. In fact, whether or halfway up the mountain to reach the summit, or in the foothills, is a kind of happiness and enjoyment The natural world is always bland, calm as the sea, the human world though a little more luster and warmth, but also in flat calm situation, although sometimes reveal a storm, high Wutu onwards, influence or change their own life trajectory.
Creating the world's history, rather, created the first insight into the world of deep eyes of individuals and groups. Absence or lack of such vision and starting line, must be attributed to arrogance and defeat.
Thousands of the world, thousands of images. Thousands of pairs of eyes, thousands of hands. Myriad masterpiece, thousands of souls. In this absolutely thousands among the only altars and shrines in addition to the idol, is the soul and sense Money makes the sedative comfort. As everyone knows, regardless of the fate of Jian wrong, the world is still good for the good to suffer for the music, to generate Bo death, repeatedly, during the era of generations, the most common interpretation of the most widespread human history.
World often emerged outstanding figures of the gods, can epoch, badly can be interpreted from the myths and legends; but from nature and reality is often absurd theory of a weird or just give up.
People out from nature, and not simply out of the world of human society. On the contrary, nature can only come out from nature, but does not come out from the world of human life. (Fangruida famous classic)
World sideways look, rainbow Jinxia sky; world bristling see if inverted observed haze over the Thunder, the scene is easy enough, haze Thunder sky, rainbow Jinxia everywhere.(Jinxia ---- beautiful pink clouds)
And nonsense are raving idiot, proverbs and reason is the only path to truth.
The unexamined not create the world, wasted years of mediocrity; only diligent, chest Tao Wu slightly in order to lead the world, innovation in the world.
Eternal life is worth, rather than length.
The world is mortal beings, not a genius and a saint can substitute the no genius and saints, beings naturally generated, no beings, genius and saints will be gone.
No one can accurately predict the future of nature and the world, but human wisdom advanced super location but can draw no less natural universe and human society generally rough image for the future. Even far beyond the vision of God.
Human nature is present in higher animals on the natural world, although it has a powerful transformation force wisdom and creativity, but not completely out of nature, after all, a fundamental fantasy or fiction of human nature and animal instinct has been completely isolated gene molecular bodiless not fanaticism is ignorant, because he was not placed in front of infantilism is the first force manic hysteria syndrome. (Fangruida famous classic)
This world is the greatest bible, every day opened a new page, the key is how you follow my handwriting writing left by their predecessors various chapters .------ (Fangruida classic saying.)
Wine is mellow, as long as there is revelry, pure spring water also exudes good taste.
History of the universe, pure natural history of human society history, both the trajectory of human history itself, but also the inevitable process of natural history is full of impassable and escape various blind spots and bane. Neglect or ignore these, will make human society more bizarre history .------- (Fangruida famous classic)
Fangruida famous classic 500 selection (multi-lingual global version control, e-books)
Sound shook the world, a permanent favorite sayings ------ Fangruida classic quotations motto Selected Translations (English, French, German, Russian, Spanish, Japanese, multilingual electronic version control Version 2012- 3.02)
Fang Rui Da life work a lot, widespread popular that many of his classic quotes the classic motto, inspirational, gives a reverie, giving encouragement, giving teachings, gives insights. Admire and read of him classic quotations classic motto, as if reciting a poem as in, one of which enjoy a painting, listening to a song sounds romantic dance, this is the real charm of the square where the motto Investor quotations. herein is a selection of II. According to the author and the author wishes to question, selected multi-language version control, so that the parties to the reader and appreciation. square Investor classic quotations set of natural science, social science and literature and art in a beautiful, elegant, deep, subtle, mood, right, worthy of the world famous celebrities masterpiece. concise, three words two languages, the finishing touch, the words intended to do endless. Such learning and studying, you can achieve pleasing results, truly understand and analyze every word, every precise meaning and profound concept of the word. So, these are masterpieces, not because of the time and place and change. There are a lot of doubts in the interpretation of the e-book version, elaborate parties Investor classic quotations classic maxim, some more accurate complete Some lacks, and did not really understand and appreciate square Investor classic quotations classic maxim meaning lies. After worth complemented amended. multilingual control version, is to make up for this kind of loss and miscarriage of justice, but also compile and translation have been and author's discussion and validation, without any copyright disputes, authorized by the author disclosed in the city. for the public to enjoy reading. <>, <>, <> and so will continue to publish the advent of appreciation for readers around the world. Finally, for the assistance and edit the translation of you to express my deep gratitude to the friendly colleagues.
(Eds: otis Translation: Adeline / Augelire proofread: fred Audit: Boris)
July 2011 in Paris, Copenhagen, Amsterdam, New York.
_____________________________________________________________
Look at the history of the human individual, but is a few decades, centuries, but rather look at the history of the entire human population is a few hundred thousand years, and put him constantly Expansion of the natural world to appreciate and taste.
Human society is not an abstract body, but a real kaleidoscope.
Humanity the greatest and most powerful place is not that he's tough and mana, the first is constant self-denial.
As long as human society, everything is forward series, regardless of the final outcome of this evolution of how loud or how ruthless .----- (square Investor famous classic).
When life is about to end, you first farewell this life is not only the world, but nature and the universe temporary farewell.
World as colorful palette, from time to time to issue a variety of transformation, some beautiful, some haze, some wonderful, some gray.
The world is not eternal day regulation and order, but the world would not be a permanent disorder or chaos filled the whole planet. Order and disorder kept forever in grafting seesaw. Otherwise, the whole of nature and human society will tends to destroy or complete collapse collapse .---- square Investor classic saying.
Where that is the reality of existence, the reality of it all is that there are no real existence and no existence in reality, as absurd .------- are Fangruida famous classic)
God created the world, the world that God created.
Only human beings truly enter into the kingdom of heaven, in order to truly comprehend the beauty of paradise.
Desires and greed, is a cross to a natural divide human society from the animal kingdom; wisdom and labor - wealth, a huge man from the animal cross the bridge to a rational human society.
Reason and truth is eternal connection, on the contrary, wild and falsehood connection, and ultimately not waiting astray is a failure.
World Vientiane, everyone is in a hurry to come and go, but some passing away, but you can still figure detour back; some people do not leave, the soul has been long dead ..... everyone can flirtation, history will provide wonderful variety of rodeo arena.
That the world is too beautiful rose garden with flowers, it was a naive and childish;. That the world is Heilongtan dark, it is a sad and incompetence of the world is a reality, but also a bit romantic and sentimental .--- - Fangruida classic saying.
Immature and pessimism can not create the world, only the courage and strength to innovation in the world.
World colorful, flowers Tuyan, but that does not mean all the world to disorganized, chaotic disorder. The world and the universe is not chaos to Jiuxing flying, yin and yang imbalance; the world and the universe through its self-regulation, self-compliance with its reasoning, the chaos and gradually establish a new domain.
Simply conquer and dominate the world, is purely natural animal beast game; build the world heaven, can be completely freed from the Beast game.
Natural human animal is not terrible, terrible is its endless sprawl and expansion, it will allow to create into a ruin, so rational degenerate into evil, let wisdom destruction in stupidity. (Fangruida famous classic)
World history is not with petals that can weave together a beautiful wreath, world history throughout human history actually use the compilation of flesh and blood and sweat out of scroll paintings depicting famous classic .----- Fangruida
Great natural, great universe, it really is the mother of all mankind and life.
Numerous sequences of human history, always natural and ruthlessly presented or presented. Offside and transposition only in the basic sorting sequence appear positive, rebellious or dislocation will be replaced this kind of evolved into a history of bumps and setbacks. In other words, the natural history of mankind is only positive, reverse or reverse does not occur. The difference with this is the natural evolution of the universe sequence, forward and inversion often exchange.
Anatomy of the whole human society, which is the anatomical structure of the human body and the whole of nature is closely related to the world of him and the interdependence of social groups and individual tectonic structure.
If we say that the universe will collapse to collapse, then that is to say, prior to this human society and self-collapse of extinction. The real danger is not that the hazards and predators, but in human society and human beings defects and significant inhibition and overcome mistakes and I do not know , which will itself lead completely destroyed.
Wonderful and fanciful fantasy world is illusory phantom or mirage and reality difficult to build human society is the most real world and can not decline to exist forever. (Fangruida famous classic).
The world is not "Superman", the world's only permanent hard work in the vast field of farming labor husband kept it .----(Fangruida famous classic)
The sun rises in the east every day, day after day, life swing. Nature has actually been displaced, and human world is also moving in the displacement movement. Earth life can be resurrected in the other planets, it is a gift from God and good luck.
Animal world can not rudderless, lions, tigers, wolves, the sheep, horses, geese, monkeys ..... human society is the family of the group, could not disorderly, "the leader, the leading pack ., "Otherwise, everything will do everything to destroy or perish subvert the natural and fundamental law, it is very scary silly deteriorate even in the solar system, the sun is the king of the Ninth; no sun, the earth, the moon will zero.
Day after day, year after year, the Earth, the moon, the sun is constantly rotated; life, the human heart is with the rotation of day and night constantly pulsates ...... Seen in this light, Once stagnation, rotating and pulsating, nature and life will be how the outcome, rotating planets and life beat, it does not mean all the success Shengongguifu nature of human society, for him, the rotation will always be unalterable..; The first thing you want to beat is the survival of human life, the human world and the natural world if radical departure, beating of human life and the entire human society will tend to collapse and die.
There are a variety of life perception and interpretation, some clear, some obscure, some bright, some dark. In fact, both positive and anti, right and wrong, are left in the world and future generations valuable voice.
The struggle of life, wealth, power, fame, status, love, family, career, trying to brilliant pinnacle, everything can not be overstated. In fact, whether or halfway up the mountain to reach the summit, or in the foothills, is a kind of happiness and enjoyment The natural world is always bland, calm as the sea, the human world though a little more luster and warmth, but also in flat calm situation, although sometimes reveal a storm, high Wutu onwards, influence or change their own life trajectory.
Creating the world's history, rather, created the first insight into the world of deep eyes of individuals and groups. Absence or lack of such vision and starting line, must be attributed to arrogance and defeat.
Thousands of the world, thousands of images. Thousands of pairs of eyes, thousands of hands. Myriad masterpiece, thousands of souls. In this absolutely thousands among the only altars and shrines in addition to the idol, is the soul and sense Money makes the sedative comfort. As everyone knows, regardless of the fate of Jian wrong, the world is still good for the good to suffer for the music, to generate Bo death, repeatedly, during the era of generations, the most common interpretation of the most widespread human history.
World often emerged outstanding figures of the gods, can epoch, badly can be interpreted from the myths and legends; but from nature and reality is often absurd theory of a weird or just give up.
People out from nature, and not simply out of the world of human society. On the contrary, nature can only come out from nature, but does not come out from the world of human life. (Fangruida famous classic)
World sideways look, rainbow Jinxia sky; world bristling see if inverted observed haze over the Thunder, the scene is easy enough, haze Thunder sky, rainbow Jinxia everywhere.
And nonsense are raving idiot, proverbs and reason is the only path to truth.
The unexamined not create the world, wasted years of mediocrity; only diligent, chest Tao Wu slightly in order to lead the world, innovation in the world.
Eternal life is worth, rather than length.
The world is mortal beings, not a genius and a saint can substitute the no genius and saints, beings naturally generated, no beings, genius and saints will be gone.
No one can accurately predict the future of nature and the world, but human wisdom advanced super location but can draw no less natural universe and human society generally rough image for the future. Even far beyond the vision of God.
Human nature is present in higher animals on the natural world, although it has a powerful transformation force wisdom and creativity, but not completely out of nature, after all, a fundamental fantasy or fiction of human nature and animal instinct has been completely isolated gene molecular bodiless not fanaticism is ignorant, because he was not placed in front of infantilism is the first force manic hysteria syndrome. (Fangruida famous classic)
This world is the greatest bible, every day opened a new page, the key is how you follow my handwriting writing left by their predecessors various chapters .------ (Fangruida classic saying.)
Wine is mellow, as long as there is revelry, pure spring water also exudes good taste.
History of the universe, pure natural history of human society history, both the trajectory of human history itself, but also the inevitable process of natural history is full of impassable and escape various blind spots and bane. Neglect or ignore these, will make human society more bizarre history .------- (Fangruida famous classic)
Fangrui famous classic 500 selection (multi-lingual global version control, e-books) Sound shook the world, a permanent favorite sayings ------ Fangrui classic quotations motto Selected Translations (English, French, German, Russian, Spanish, Japanese, multilingual electronic version control Version 2012- 3.02) Fang Rui Da life work a lot, widespread popular that many of his classic quotes the classic motto, inspirational, gives a reverie, giving encouragement, giving teachings, gives insights. Admire and read of him classic quotations classic motto, as if reciting a poem as in, one of which enjoy a painting, listening to a song sounds romantic dance, this is the real charm of the square where the motto Investor quotations. herein is a selection of II. According to the author and the author wishes to question, selected multi-language version control, so that the parties to the reader and appreciation. square Investor classic quotations set of natural science, social science and literature and art in a beautiful, elegant, deep, subtle, mood, right, worthy of the world famous celebrities masterpiece. concise, three words two languages, the finishing touch, the words intended to do endless. Such learning and studying, you can achieve pleasing results, truly understand and analyze every word, every precise meaning and profound concept of the word. So, these are masterpieces, not because of the time and place and change. There are a lot of doubts in the interpretation of the e-book version, elaborate parties Investor classic quotations classic maxim, some more accurate complete Some lacks, and did not really understand and appreciate square Investor classic quotations classic maxim meaning lies. After worth complemented amended. multilingual control version, is to make up for this kind of loss and miscarriage of justice, but also compile and translation have been and author's discussion and validation, without any copyright disputes, authorized by the author disclosed in the city. for the public to enjoy reading. <>, <>, <> and so will continue to publish the advent of appreciation for readers around the world. Finally, for the assistance and edit the translation of you to express my deep gratitude to the friendly colleagues. (Eds: otis Translation: Adeline / Augelire proofread: fred Audit: Boris) July 2011 in Paris, Copenhagen, Amsterdam, New York. _____________________________________________________________ Look at the history of the human individual, but is a few decades, centuries, but rather look at the history of the entire human population is a few hundred thousand years, and put him constantly Expansion of the natural world to appreciate and taste. Human society is not an abstract body, but a real kaleidoscope. Humanity the greatest and most powerful place is not that he's tough and mana, the first is constant self-denial. As long as human society, everything is forward series, regardless of the final outcome of this evolution of how loud or how ruthless .----- (square Investor famous classic). When life is about to end, you first farewell this life is not only the world, but nature and the universe temporary farewell. World as colorful palette, from time to time to issue a variety of transformation, some beautiful, some haze, some wonderful, some gray. The world is not eternal day regulation and order, but the world would not be a permanent disorder or chaos filled the whole planet. Order and disorder kept forever in grafting seesaw. Otherwise, the whole of nature and human society will tends to destroy or complete collapse collapse .---- square Investor classic saying. Where that is the reality of existence, the reality of it all is that there are no real existence and no existence in reality, as absurd .------- are Fangruida famous classic) God created the world, the world that God created. Only human beings truly enter into the kingdom of heaven, in order to truly comprehend the beauty of paradise. Desires and greed, is a cross to a natural divide human society from the animal kingdom; wisdom and labor - wealth, a huge man from the animal cross the bridge to a rational human society. Reason and truth is eternal connection, on the contrary, wild and falsehood connection, and ultimately not waiting astray is a failure. World Vientiane, everyone is in a hurry to come and go, but some passing away, but you can still figure detour back; some people do not leave, the soul has been long dead ..... everyone can flirtation, history will provide wonderful variety of rodeo arena. That the world is too beautiful rose garden with flowers, it was a naive and childish;. That the world is Heilongtan dark, it is a sad and incompetence of the world is a reality, but also a bit romantic and sentimental .--- - Fangruida classic saying. Immature and pessimism can not create the world, only the courage and strength to innovation in the world. World colorful, flowers Tuyan, but that does not mean all the world to disorganized, chaotic disorder. The world and the universe is not chaos to Jiuxing flying, yin and yang imbalance; the world and the universe through its self-regulation, self-compliance with its reasoning, the chaos and gradually establish a new domain. Simply conquer and dominate the world, is purely natural animal beast game; build the world heaven, can be completely freed from the Beast game. Natural human animal is not terrible, terrible is its endless sprawl and expansion, it will allow to create into a ruin, so rational degenerate into evil, let wisdom destruction in stupidity. (Fangruida famous classic) World history is not with petals that can weave together a beautiful wreath, world history throughout human history actually use the compilation of flesh and blood and sweat out of scroll paintings depicting famous classic .----- Fangruida Great natural, great universe, it really is the mother of all mankind and life. Numerous sequences of human history, always natural and ruthlessly presented or presented. Offside and transposition only in the basic sorting sequence appear positive, rebellious or dislocation will be replaced this kind of evolved into a history of bumps and setbacks. In other words, the natural history of mankind is only positive, reverse or reverse does not occur. The difference with this is the natural evolution of the universe sequence, forward and inversion often exchange. Anatomy of the whole human society, which is the anatomical structure of the human body and the whole of nature is closely related to the world of him and the interdependence of social groups and individual tectonic structure. If we say that the universe will collapse to collapse, then that is to say, prior to this human society and self-collapse of extinction. The real danger is not that the hazards and predators, but in human society and human beings defects and significant inhibition and overcome mistakes and I do not know , which will itself lead completely destroyed. Wonderful and fanciful fantasy world is illusory phantom or mirage and reality difficult to build human society is the most real world and can not decline to exist forever. (Fangruida famous classic). The world is not "Superman", the world's only permanent hard work in the vast field of farming labor husband kept it .----(Fangruida famous classic) The sun rises in the east every day, day after day, life swing. Nature has actually been displaced, and human world is also moving in the displacement movement. Earth life can be resurrected in the other planets, it is a gift from God and good luck. Animal world can not rudderless, lions, tigers, wolves, the sheep, horses, geese, monkeys ..... human society is the family of the group, could not disorderly, "the leader, the leading pack ., "Otherwise, everything will do everything to destroy or perish subvert the natural and fundamental law, it is very scary silly deteriorate even in the solar system, the sun is the king of the Ninth; no sun, the earth, the moon will zero. Day after day, year after year, the Earth, the moon, the sun is constantly rotated; life, the human heart is with the rotation of day and night constantly pulsates ...... Seen in this light, Once stagnation, rotating and pulsating, nature and life will be how the outcome, rotating planets and life beat, it does not mean all the success Shengongguifu nature of human society, for him, the rotation will always be unalterable..; The first thing you want to beat is the survival of human life, the human world and the natural world if radical departure, beating of human life and the entire human society will tend to collapse and die. There are a variety of life perception and interpretation, some clear, some obscure, some bright, some dark. In fact, both positive and anti, right and wrong, are left in the world and future generations valuable voice. The struggle of life, wealth, power, fame, status, love, family, career, trying to brilliant pinnacle, everything can not be overstated. In fact, whether or halfway up the mountain to reach the summit, or in the foothills, is a kind of happiness and enjoyment The natural world is always bland, calm as the sea, the human world though a little more luster and warmth, but also in flat calm situation, although sometimes reveal a storm, high Wutu onwards, influence or change their own life trajectory. Creating the world's history, rather, created the first insight into the world of deep eyes of individuals and groups. Absence or lack of such vision and starting line, must be attributed to arrogance and defeat. Thousands of the world, thousands of images. Thousands of pairs of eyes, thousands of hands. Myriad masterpiece, thousands of souls. In this absolutely thousands among the only altars and shrines in addition to the idol, is the soul and sense Money makes the sedative comfort. As everyone knows, regardless of the fate of Jian wrong, the world is still good for the good to suffer for the music, to generate Bo death, repeatedly, during the era of generations, the most common interpretation of the most widespread human history. World often emerged outstanding figures of the gods, can epoch, badly can be interpreted from the myths and legends; but from nature and reality is often absurd theory of a weird or just give up. People out from nature, and not simply out of the world of human society. On the contrary, nature can only come out from nature, but does not come out from the world of human life. (Fangruida famous classic) World sideways look, rainbow Jinxia sky; world bristling see if inverted observed haze over the Thunder, the scene is easy enough, haze Thunder sky, rainbow Jinxia everywhere. And nonsense are raving idiot, proverbs and reason is the only path to truth. The unexamined not create the world, wasted years of mediocrity; only diligent, chest Tao Wu slightly in order to lead the world, innovation in the world. Eternal life is worth, rather than length. The world is mortal beings, not a genius and a saint can substitute the no genius and saints, beings naturally generated, no beings, genius and saints will be gone. No one can accurately predict the future of nature and the world, but human wisdom advanced super location but can draw no less natural universe and human society generally rough image for the future. Even far beyond the vision of God. Human nature is present in higher animals on the natural world, although it has a powerful transformation force wisdom and creativity, but not completely out of nature, after all, a fundamental fantasy or fiction of human nature and animal instinct has been completely isolated gene molecular bodiless not fanaticism is ignorant, because he was not placed in front of infantilism is the first force manic hysteria syndrome. (Fangruida famous classic) This world is the greatest bible, every day opened a new page, the key is how you follow my handwriting writing left by their predecessors various chapters .------ (Fangruida classic saying.) Wine is mellow, as long as there is revelry, pure spring water also exudes good taste. History of the universe, pure natural history of human society history, both the trajectory of human history itself, but also the inevitable process of natural history is full of impassable and escape various blind spots and bane. Neglect or ignore these, will make human society more bizarre history .------- (Fangruida famous classic)
Fangruida famous classic 500 selection (multi-lingual global version control, e-books) Sound shook the world, a permanent favorite sayings ------ Fangruida classic quotations motto Selected Translations (English, French, German, Russian, Spanish, Japanese, multilingual electronic version control Version 2012- 3.02) Fang Rui Da life work a lot, widespread popular that many of his classic quotes the classic motto, inspirational, gives a reverie, giving encouragement, giving teachings, gives insights. Admire and read of him classic quotations classic motto, as if reciting a poem as in, one of which enjoy a painting, listening to a song sounds romantic dance, this is the real charm of the square where the motto Investor quotations. herein is a selection of II. According to the author and the author wishes to question, selected multi-language version control, so that the parties to the reader and appreciation. square Investor classic quotations set of natural science, social science and literature and art in a beautiful, elegant, deep, subtle, mood, right, worthy of the world famous celebrities masterpiece. concise, three words two languages, the finishing touch, the words intended to do endless. Such learning and studying, you can achieve pleasing results, truly understand and analyze every word, every precise meaning and profound concept of the word. So, these are masterpieces, not because of the time and place and change. There are a lot of doubts in the interpretation of the e-book version, elaborate parties Investor classic quotations classic maxim, some more accurate complete Some lacks, and did not really understand and appreciate square Investor classic quotations classic maxim meaning lies. After worth complemented amended. multilingual control version, is to make up for this kind of loss and miscarriage of justice, but also compile and translation have been and author's discussion and validation, without any copyright disputes, authorized by the author disclosed in the city. for the public to enjoy reading. <>, <>, <> and so will continue to publish the advent of appreciation for readers around the world. Finally, for the assistance and edit the translation of you to express my deep gratitude to the friendly colleagues. (Eds: otis Translation: Adeline / Augelire proofread: fred Audit: Boris) July 2011 in Paris, Copenhagen, Amsterdam, New York. _____________________________________________________________ Look at the history of the human individual, but is a few decades, centuries, but rather look at the history of the entire human population is a few hundred thousand years, and put him constantly Expansion of the natural world to appreciate and taste. Human society is not an abstract body, but a real kaleidoscope. Humanity the greatest and most powerful place is not that he's tough and mana, the first is constant self-denial. As long as human society, everything is forward series, regardless of the final outcome of this evolution of how loud or how ruthless .----- (square Investor famous classic). When life is about to end, you first farewell this life is not only the world, but nature and the universe temporary farewell. World as colorful palette, from time to time to issue a variety of transformation, some beautiful, some haze, some wonderful, some gray. The world is not eternal day regulation and order, but the world would not be a permanent disorder or chaos filled the whole planet. Order and disorder kept forever in grafting seesaw. Otherwise, the whole of nature and human society will tends to destroy or complete collapse collapse .---- square Investor classic saying. Where that is the reality of existence, the reality of it all is that there are no real existence and no existence in reality, as absurd .------- are Fangruida famous classic) God created the world, the world that God created. Only human beings truly enter into the kingdom of heaven, in order to truly comprehend the beauty of paradise. Desires and greed, is a cross to a natural divide human society from the animal kingdom; wisdom and labor - wealth, a huge man from the animal cross the bridge to a rational human society. Reason and truth is eternal connection, on the contrary, wild and falsehood connection, and ultimately not waiting astray is a failure. World Vientiane, everyone is in a hurry to come and go, but some passing away, but you can still figure detour back; some people do not leave, the soul has been long dead ..... everyone can flirtation, history will provide wonderful variety of rodeo arena. That the world is too beautiful rose garden with flowers, it was a naive and childish;. That the world is Heilongtan dark, it is a sad and incompetence of the world is a reality, but also a bit romantic and sentimental .--- - Fangruida classic saying. Immature and pessimism can not create the world, only the courage and strength to innovation in the world. World colorful, flowers Tuyan, but that does not mean all the world to disorganized, chaotic disorder. The world and the universe is not chaos to Jiuxing flying, yin and yang imbalance; the world and the universe through its self-regulation, self-compliance with its reasoning, the chaos and gradually establish a new domain. Simply conquer and dominate the world, is purely natural animal beast game; build the world heaven, can be completely freed from the Beast game. Natural human animal is not terrible, terrible is its endless sprawl and expansion, it will allow to create into a ruin, so rational degenerate into evil, let wisdom destruction in stupidity. (Fangruida famous classic) World history is not with petals that can weave together a beautiful wreath, world history throughout human history actually use the compilation of flesh and blood and sweat out of scroll paintings depicting famous classic .----- Fangruida Great natural, great universe, it really is the mother of all mankind and life. Numerous sequences of human history, always natural and ruthlessly presented or presented. Offside and transposition only in the basic sorting sequence appear positive, rebellious or dislocation will be replaced this kind of evolved into a history of bumps and setbacks. In other words, the natural history of mankind is only positive, reverse or reverse does not occur. The difference with this is the natural evolution of the universe sequence, forward and inversion often exchange. Anatomy of the whole human society, which is the anatomical structure of the human body and the whole of nature is closely related to the world of him and the interdependence of social groups and individual tectonic structure. If we say that the universe will collapse to collapse, then that is to say, prior to this human society and self-collapse of extinction. The real danger is not that the hazards and predators, but in human society and human beings defects and significant inhibition and overcome mistakes and I do not know , which will itself lead completely destroyed. Wonderful and fanciful fantasy world is illusory phantom or mirage and reality difficult to build human society is the most real world and can not decline to exist forever. (Fangruida famous classic). The world is not "Superman", the world's only permanent hard work in the vast field of farming labor husband kept it .----(Fangruida famous classic) The sun rises in the east every day, day after day, life swing. Nature has actually been displaced, and human world is also moving in the displacement movement. Earth life can be resurrected in the other planets, it is a gift from God and good luck. Animal world can not rudderless, lions, tigers, wolves, the sheep, horses, geese, monkeys ..... human society is the family of the group, could not disorderly, "the leader, the leading pack ., "Otherwise, everything will do everything to destroy or perish subvert the natural and fundamental law, it is very scary silly deteriorate even in the solar system, the sun is the king of the Ninth; no sun, the earth, the moon will zero. Day after day, year after year, the Earth, the moon, the sun is constantly rotated; life, the human heart is with the rotation of day and night constantly pulsates ...... Seen in this light, Once stagnation, rotating and pulsating, nature and life will be how the outcome, rotating planets and life beat, it does not mean all the success Shengongguifu nature of human society, for him, the rotation will always be unalterable..; The first thing you want to beat is the survival of human life, the human world and the natural world if radical departure, beating of human life and the entire human society will tend to collapse and die. There are a variety of life perception and interpretation, some clear, some obscure, some bright, some dark. In fact, both positive and anti, right and wrong, are left in the world and future generations valuable voice. The struggle of life, wealth, power, fame, status, love, family, career, trying to brilliant pinnacle, everything can not be overstated. In fact, whether or halfway up the mountain to reach the summit, or in the foothills, is a kind of happiness and enjoyment The natural world is always bland, calm as the sea, the human world though a little more luster and warmth, but also in flat calm situation, although sometimes reveal a storm, high Wutu onwards, influence or change their own life trajectory. Creating the world's history, rather, created the first insight into the world of deep eyes of individuals and groups. Absence or lack of such vision and starting line, must be attributed to arrogance and defeat. Thousands of the world, thousands of images. Thousands of pairs of eyes, thousands of hands. Myriad masterpiece, thousands of souls. In this absolutely thousands among the only altars and shrines in addition to the idol, is the soul and sense Money makes the sedative comfort. As everyone knows, regardless of the fate of Jian wrong, the world is still good for the good to suffer for the music, to generate Bo death, repeatedly, during the era of generations, the most common interpretation of the most widespread human history. World often emerged outstanding figures of the gods, can epoch, badly can be interpreted from the myths and legends; but from nature and reality is often absurd theory of a weird or just give up. People out from nature, and not simply out of the world of human society. On the contrary, nature can only come out from nature, but does not come out from the world of human life. (Fangruida famous classic) World sideways look, rainbow Jinxia sky; world bristling see if inverted observed haze over the Thunder, the scene is easy enough, haze Thunder sky, rainbow Jinxia everywhere. And nonsense are raving idiot, proverbs and reason is the only path to truth. The unexamined not create the world, wasted years of mediocrity; only diligent, chest Tao Wu slightly in order to lead the world, innovation in the world. Eternal life is worth, rather than length. The world is mortal beings, not a genius and a saint can substitute the no genius and saints, beings naturally generated, no beings, genius and saints will be gone. No one can accurately predict the future of nature and the world, but human wisdom advanced super location but can draw no less natural universe and human society generally rough image for the future. Even far beyond the vision of God. Human nature is present in higher animals on the natural world, although it has a powerful transformation force wisdom and creativity, but not completely out of nature, after all, a fundamental fantasy or fiction of human nature and animal instinct has been completely isolated gene molecular bodiless not fanaticism is ignorant, because he was not placed in front of infantilism is the first force manic hysteria syndrome. (Fangruida famous classic) This world is the greatest bible, every day opened a new page, the key is how you follow my handwriting writing left by their predecessors various chapters .------ (Fangruida classic saying.) Wine is mellow, as long as there is revelry, pure spring water also exudes good taste. History of the universe, pure natural history of human society history, both the trajectory of human history itself, but also the inevitable process of natural history is full of impassable and escape various blind spots and bane. Neglect or ignore these, will make human society more bizarre history .------- (Fangruida famous classic)
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
The Lakshmana Temple is a Hindu temple built by Yashovarman located in Khajuraho, India. Dedicated to Vaikuntha Vishnu - an aspect of Vishnu.
LOCATION
This temple is located in the Western Temple complex in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India
ARCHITECTURE
It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati), as seen in image. The structure consists of all the elements of Hindu temple architecture. It has entrance porch (ardh-mandapa), Mandapa, Maha-Mandapa, Antarala and Garbhagriha.
Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan (top-view). Its shikhara is clustered with minor urushringas (refer images of temple top i.e. shikhara).
The wall portion is studded with balconied windows with ornate balustrades.
It has two rows of sculptures (refer images of temple's outer wall) including divine figures, couples and erotic scenes.
The sanctum doorway is of seven sakhas (vertical panels). The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.
SCULPTURES
MAIN IDOL
Main image is of tri-headed & four-armed sculpture of Vaikuntha Vishnu.
The central head is of human, and two sides of boar (depicting Varaha) and lion (depicting Narshima).
_________________________________
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.
The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.
LOCATION
Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.
HISTORY
The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.
NOMENCLATURE
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
DESCRIPTION
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.
All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.
Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
ARCHITECTURE OF THE TEMPLES
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.
Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.
CONSTRUCTION
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.
CHRONOLOGY
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
ARTS AND SCULPTURE
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.
TOURISM AND CULTURAL EVENTS
The temples in Khajuraho are broadly divided into three parts: the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.
The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
___________________________________________________________________
Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.
GESCHICHTE
Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.
Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.
TEMPEL
Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.
Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.
Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.
WESTGRUPPE (Hindu-Tempel)
- Matangeshvara-Tempel (ca. 950)
- Varaha-Tempel (ca. 950)
- Lakshmana-Tempel (ca. 950)
- Devi-Tempel
- Vishvanatha-Tempel (ca. 1000)
- Nandi-Schrein
- Parvati-Schrein
- Jagadambi-Tempel
- Chitragupta-Tempel
- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)
OSTGRUPPE (Jain-Tempel)
- Parsvanatha-Tempel (ca. 960)
- Adinatha-Tempel (ca. 1050)
- Shantinatha-Tempel
- Ghantai-Tempel (ca. 990)
EINZELTEMPEL (Hindu-Tempel)
- Chausath-Yogini-Tempel (ca. 875)
- Lalguan-Mahadeva-Tempel (ca. 920)
- Brahma-Tempel (ca. 930)
- Khakra-Math-Tempel (ca. 980)
- Vamana-Tempel (ca. 1050)
- Javari-Tempel (ca. 1100)
- Chaturbuja-Tempel (ca. 1120)
- Duladeo-Tempel (ca. 1120)
ARCHITEKTUR
Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.
FRÜHZEIT
Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.
BLÜHTZEIT
Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.
Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.
Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.
SKULPTUREN
Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.
FRÜHZEITLICHE SKULPTUREN
Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.
SKULPTUREN DER BLÜHTEZEIT
Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.
Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.
ARCHÄOLOGISCHES MUSEUM
Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.
WIKIPEDIA
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
6166. We are not to be toyed with, Watson, nor treated as if we are children. You will remember, not more than one page back - at Entry NO 6141 to be precise - we were momentarily deceived by finding the year '1924' inscribed at the bottom of a negative glass plate, in exactly the same way we see it here : but the previous image actually showed crowds visiting RAN warships at the old Sandridge Town Pier at Port Melbourne in late Feb-March 1914.
Now Moriarty tries us twice, the swine, perhaps thinking we have lapsed into self-congratulation and complacency, having perceived his deception the first time.
Again he presents the foul year '1924,' and hopes yet once more to lead us up the primrose path of HMS HOOD, HMS REPULSE and the RN Special Service Squadron's celebrated visit to Melbourne in March of that year.
Cunning, wicked wretch, he thinks we will neither notice the crest on the gun tampions here nor recall that this ship is berthed in the wrong place to be HMS REPULSE, although the triple AA batteries abaft the bridge mark her out as a ship of that class.
HMS REPULSE, we all remember, was berthed on the Outer West side of Princes Pier, when she came to Melbourne with the Special Service Squadron, with cruiser DANAE ahead, while HOOD and DELHI were opposite them, on Princes Pier East.
To wit, once again, Pics 749-50, starting here:
www.flickr.com/photos/41311545@N05/3979785037/in/photostr...
So what ship of the same class could we have berthed to the east, in the same period, as we have it here?
Elementary, my dear Watson. It is HMS RENOWN, which is berthed at Outer East, Princes Pier, having brought Prince Edward, the Prince of Wales to Melbourne in March 1920, the pier then being newly built and named for him. RENOWN is sitting at the pier exactly as she is shown at Pic NO. 655, here:
www.flickr.com/photos/41311545@N05/3966371020/
1924 ? Fuss and bother. We repeat, Fuss and Bother. And all elementary of course to those of us who happen to be blessed - or cursed, however one may perceive and experience it - with genius, my dears. It can be an isolating thing in a general population.
Please don't fail to notice the height of HMS RENOWN's breakwater on the forecastle here. It stands taller than the ladies.
Photo: Allan C. Green [1878-1954], Green Collection, State Library of Victoria [La Trobe Library], accession NO. H91.325/2355, publicly released.
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
Tank Infantry Mark III, Valentine IX (E2000.577)
The precise identity of this tank is not clear, all identification marks having been removed many years ago. It stood outside the Army Base at Long Kesh in Northern Ireland for many years, subsequently moving to the Maze Prison and Lisanelly Camp, Omagh.
It was subsequently acquired by Vickers Defence Systems and restored to running order in Newcastle using the engine from our Valentine Archer (E1969.43). In due course it was offered to the Tank Museum on loan and ultimately, in March 2002 was gifted to the Museum.
The Valentine Mark IX was upgunned to fit a 57mm (six-pounder) gun into the turret although this did not leave enough room for a co-axial machine gun and in any case, with just a two-man turret crew the tank was very difficult to fight.
Our tank carried the number T123358 on the turret which is correct for the type but not necessarily for this actual vehicle. Mark IX Valentines saw service in North Africa and some may have been suppplied to Russia but by 1943 the Valentine had been replaced in front line service by more modern vehicles and was either being relegated to secondary roles or supplied to other countries such as Portugal.
The Valentine development started without a specification from the War Office (hence the absence of an army designation), as a private design by Sir John Carden, and was submitted on February, 10, 1938, to the authorities. By then, the Matilda II had been chosen for production, but the Valentine was something different.
Vickers engineers basically tried to enhance their A10 Cruiser tank design, with a dramatic increase in protection (up to 60 mm/2.36 in). This choice allowed the use most components and parts of the already produced Cruiser I and II, therefore creating an efficient and cheap solution to the need of new infantry tank models. By then, the Matilda II was found to be far costlier than the Matilda I, and not suitable for mass-production. Comparatively, the Valentine seemed a good compromise. The name itself still is a mystery. It could have originated either from Sir John Carden’s middle name, or the date of its first submission (St. Valentine day), or a composed Vickers factory codename, though most historians agree that Valentine was just a simple codename during development.
The Mark I set the tone for the entire series of eleven main variants, with many sub-variants, and a staggering total of 8300 units. The main armament and turret design, as well as the engine and protection, were continuously improved while keeping roughly the same general appearance until 1945. The Mk.I was recognizable by its original two-man turret and 2-pdr (40 mm/1.575 in) gun. From the start, a coaxial Besa machine-gun constitued the secondary armament. The crew consisted of only three men due to the cramped interior, and the commander was also busy as gun loader, machine-gunner and radio operator. The production was rushed to such point that many problems were later detected and fixed with the next Mk.II. The main engine was the AEG A189 petrol delivering only 135 hp, and the hull was riveted. 350 were delivered in all, most seeing action in Libya, while others stayed at home for training.
Tankfest by World of Tanks - 24.-25.6.2016
The Tank Museum - Bovington, UK
Worlds biggest and best live display of historic armour, living history, and much more at the Home of the Tank - The Tank Museum, Bovington, United Kingdom.
More from Tankfest:
www.flickr.com/photos/jukkaokauppinen2/albums/72157670621...
More from me:
www.flickr.com/photos/jukkaokauppinen
Tankfest videos:
www.youtube.com/playlist?list=PLIGRHBJyGQb3PpXwFlOKve2OUJ...
My Imgur galleries:
This precise wyvern is one of the treasures of the Ben-Amian forest. It is one of the most rear of all the wyvern's. It's beard is of pure christal and her eyes are of it too. It's a very fearfull creature, but loving and nice. Because of it's value people want to catch it ant kill it. And now its the wyvern of Rolof the Wizard.
I was on the bluff top watching this Osprey hunting along the shoreline. Having gotten to know this birds perching habits I intentionally positioned myself about 50 feet behind one it's main cliffside haunt. This allowed me to capture its precise landing from behind it on the cliff's edge, about 200 feet above the shoreline. Explore March 14.