Published in 1961 by Kodak. It's filled with hints and notes on how to use the Kodak Retina Camera.

Utricularia minor L.

EN: Lesser Bladderwort, DE: Kleine Wasserschlauch

Slo.: mala mešinka

 

Dat.: June 10. 2008

Lat.: 45.90000 Long.: 14.10000 (coordinates not precise)

Code: Bot_270/2008_DSC9003

 

Habitat: nutrients poor, shallow standing water of a small march; next to a local road; flat terrain; mostly sunny; elevation 570 m (1.870 feet); average precipitations 1.800-2.000 mm/year, average temperature 8-9 deg C, borderline between Dinaric and prealpine phytogeographical region.

 

Substratum: soil, bottom of a shallow standing water.

 

Place: Žejna dolina valley, next to the local road from village Hotedršica toward the settlement Medvedje Brdo, (about 2 km north from the village Hotedršica), Notranska, Slovenia EC.

 

Comment: Utricularia minor is a very interesting carnivorous aquatic plant. It grows in standing and very slowly flowing waters. Only its flower stalks with yellow, bizarre looking flowers, resembling gluttonous mouth, rise above water surface. Long stolons and stalks with several times divided leaves having thin final segments live in water. The plant catches and digests small water animals like water fleas, nematodes, small fish fry and mosquito larvae with bladder-like traps situated on their leaves. Hundreds of these traps can be found on a single plant. Each bladder, which was initially thought to be a flotation device before its carnivorous nature was discovered, has a small mouth, 'trap door', surrounded by several branched protuberances looking like some kind of tentacles.

 

The functioning of these traps is ingenious – many agree the most sophisticated and simple at the same time carnivorous trapping mechanism to be found within plant kingdom. The bladder is a purely mechanical device without any sensory functions. The only active mechanism involved is the constant pumping of water out of the bladder through thin bladder's walls by cellular transportation mechanism. Since the mouth (trap door) is normally tightly closed, this pumping crates negative pressure within the bladder and squeezes it somewhat. The 'tentacles' are stiff and attached to the flexible mouth lip. If an animal touches these 'tentacles' they work simply as mechanical levers and deform the mouth lip a bit. The mouth loses its tightness and, because of the negative pressure inside the bladder, water instantly brakes into the bladder – together with the pray. This happens in about 10 ms only! The mouth closes and the pray is slowly digested by the plant. After the meal is finished the whole process starts again (Ref.: 4). Note: Picture of the bladder taken through a microscope shows similar bladder of Utricularia intermedia and not of Utricularia minor!

 

Utricularia minor is widely distributed all over the world (except Antarctica). In Slovenia it is rare, highly endangered and protected by law as all other four species of this interesting genus present in the country.

 

Pravilnik o uvrstitvi ogroženih rastlinskih in živalskih vrst v rdeči seznam, Uradni list RS, št. 82/2002 (Regulation of enlisting of endangered plant and animal species onto Red List, Official Gazette of Republic Slovenia, no. 82/2002) (2002). Enlisted in the Slovene Red List of rare and endangered species, marked by "V" representing a vulnerable species.

 

Ref.:

(1) Personal communication Mr. Branko Dolinar, www.orhideje.si

(2) M.A. Fischer, W. Adler, K. Oswald, Exkursionsflora für Österreich, Liechtenstein und Südtirol, LO Landesmuseen, Linz, Austria (2005), p 763.

(3) A. Martinči et all., Mala Flora Slovenije (Flora of Slovenia - Key) (in Slovenian), Tehnična Založba Slovenije (2007), p 583.

(4) en.wikipedia.org/wiki/Utricularia (accessed Oct.28. 2018)

(5) D. Aeschimann, K. Lauber, D.M. Moser, J.P. Theurillat, Flora Alpina, Vol. 2., Haupt (2004), p 300.

(6) K. Lauber and G. Wagner, Flora Helvetica, 5. Auflage, Haupt (2012), p 946.

   

Panasonic ES8109 S Vortex Wet/Dry Shaving System

 

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Precise brickwork to join two tunnels together seamlessly

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.

 

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Technical Manual: Chromolithographic Production of a Decorative Trunk-Lid Print (c. 1880s)

 

This decorative trunk-lid image was created by chromolithography, the leading high-quality color printing process of the late 19th century. It combined freehand artistry for pictorial elements with precise mechanical drawing for borders and geometric motifs. The process was entirely manual in this period—no photographic separations were used—and required exacting craftsmanship to produce a richly layered, perfectly registered color image.

 

I. Detailed Process Description

 

1. The Key Stone

 

The process began with the “key” or outline stone.

 

The lithographer drew the full design, in reverse, on a smooth, polished slab of Bavarian limestone using greasy lithographic crayon or tusche (greasy ink).

 

This stone carried all outlines, contour lines, and key shading cues.

 

Registration marks—crosses or pinholes in the margins—were incorporated so that every later color impression could be matched precisely to it.

 

For geometric elements such as borders, frames, corner ornaments, or medallion arcs, the lithographer employed rulers, straightedges, compasses, and French curves. This ensured perfect parallelism, uniform line width, and symmetry. Repeating motifs in borders were often laid out with dividers or spacing marks before being finished by hand.

 

The key drawing integrated these mechanically precise elements seamlessly with freehand rendering of organic forms such as the woman’s portrait, foliage, and landscape details.

 

After completion, the stone surface was chemically treated with gum arabic and dilute nitric acid so that greasy image areas would accept oil-based ink while the blank areas repelled it.

 

2. Creating the Faint Guide Transfers

 

The key stone was inked in a neutral tone—commonly light grey, sepia, or pale ochre.

 

Impressions were pulled onto specially prepared transfer paper coated with a thin layer of adhesive such as gelatin.

 

These impressions, called “transfers” or “pulls”, were strong enough to be visible but pale enough not to interfere with later color drawing.

 

Each transfer sheet was placed face down on a blank polished stone and run through the press under pressure. The greasy ink transferred into the pores of the new stone’s surface, producing a pale, precise replica of the entire design.

 

One transfer was made for each color stone planned—often 8–15 for a richly shaded piece like this.

 

3. Drawing Each Color Stone by Hand

 

On each transferred stone, the lithographer worked only on the areas to be printed in that stone’s specific color.

 

Pictorial areas (faces, floral elements, landscape features) were rendered freehand using stipple dots, hatching, and textured crayon marks to create tonal gradations.

 

Geometric areas (borders, lines, decorative panels) in that color were drawn using rulers, compasses, and templates to maintain straightness, curvature, and even spacing.

 

The lithographer had to anticipate how transparent inks would overlap with others to form new colors. This required leaving certain areas open, or creating deliberate overlaps to produce secondary hues (e.g., printing blue over yellow to make green).

 

No photographic separation was used—color interpretation was entirely a matter of artistic judgment.

 

4. Judgement and Artistry

 

Transparent inks meant the lithographer had to visualize the cumulative result of multiple layers before printing began.

 

Overlaps were planned to achieve desired hues without muddying.

 

In complex areas like the sitter’s complexion, effects were built up by combining a base tone (e.g., pale yellow) with flesh pink and then adding subtle shading through stippling or fine hatching in a darker tint.

 

5. Proofing and Adjustments

 

After each stone was drawn, a proof print was pulled.

 

Registration was checked against the key, and tonal balance was evaluated.

 

Corrections could be made by grinding down areas of the stone with pumice or adding new greasy drawing where needed.

 

Proofing and correction cycles continued until every stone printed cleanly and registered perfectly with the others.

 

6. Sequential Printing

 

Printing typically began with the lightest colors and progressed to the darkest.

 

Each sheet of paper was dampened, aligned to the registration marks, and printed one color at a time.

 

After each pass, the sheet was dried (or re-dampened if needed) before receiving the next color.

 

Transparent inks allowed optical blending—yellow printed first, blue later, producing green in overlapping areas.

 

Borders and other critical alignment points were checked with each pass to maintain precision.

 

II. Probable Color Sequence for This Print

 

Based on late-19th-century practice and the observed palette of your trunk-lid image:

 

Light Yellow – Base tone for foliage highlights, ribbon accents, and underpainting for skin tones.

 

Light Pink / Flesh Tint – Applied over yellow in portrait areas; also in floral details.

 

Sky Blue – Ribbon background, water, and cool shadows; provides base for greens when overprinted with yellow.

 

Light Green – Foliage tints achieved by printing over yellow and/or blue.

 

Warm Ochre / Buff – Mid-tone background fills and ornamental elements.

 

Mid-Red / Rose – Floral accents, ribbon details, lips and cheeks.

 

Dark Green – Deep foliage shadows and ornamental border accents.

 

Dark Blue – Shading in ribbon folds, water, and certain border areas.

 

Brown – Hair, tree trunks, warm shadow areas.

 

Black (Key Plate) – Final pass, reinforcing outlines, details, and definition.

 

Note: Some printers reversed steps 9 and 10, but decorative trunk-lid work typically saved the black for last to achieve maximum crispness in outlines.

 

III. Size

 

\Commercial chromolithography in the 19th century had a surprisingly wide size range, and by the 1880s there were presses and stones capable of printing very large sheets—but “routine” sizes were smaller than the record-breakers.

 

Here’s what the sources indicate:

Typical Commercial Sizes

 

Most advertising chromos and decorative prints (trade cards, cigar labels, trunk-lid liners, calendars) were under 18 × 24 inches (45 × 60 cm).

 

This size range kept stone weight manageable (under ~40–50 lbs) and allowed fast presswork without excessive paper costs.

 

Large-Format Work in Regular Use

 

By the 1870s–1890s, firms in the U.S., Britain, France, and Germany routinely printed posters, maps, and wall charts up to about 24 × 36 inches (61 × 91 cm) in a single sheet.

 

Large railroad and theater posters were sometimes printed as multiple sheets to be joined after printing—each sheet a separate lithographic run.

 

Stones for these larger single sheets could weigh 200–300 lbs, which was about the upper limit for regular commercial handling.

 

Extra-Large (Occasional, Not Routine)

 

A few specialized presses and workshops produced single-sheet chromolithographs up to 30 × 40 inches (76 × 102 cm) or even 40 × 60 inches (102 × 152 cm).

 

These were not everyday jobs—they required special heavy presses and crews to handle the stones. Examples include:

 

French art publishers like Lemercier producing oversize posters for exhibitions in the 1870s–1880s.

 

American billboard chromos in the 1890s printed for product advertising; often pasted in sections, but sometimes one monumental sheet if the client paid the premium.

 

Why “Routine” Stopped Around 24 × 36 inches

 

Larger stones became exponentially heavier and harder to keep in register.

 

The risk of breaking a costly Bavarian limestone during handling increased with size.

 

Press speeds dropped as sheet size increased, making large runs slower and more expensive.

 

Bottom line:

 

Routine large commercial chromolithographs: up to about 24 × 36 inches (61 × 91 cm) in a single sheet.

 

Specialized/occasional work: up to about 40 × 60 inches (102 × 152 cm), but rare and costly.

 

Anything bigger was usually produced as multiple sheets to be assembled on site.

 

IV. Estimated Production Time for Initial Creation

 

Based on period trade manuals and documented work rates in late-19th-century lithographic shops:

 

Drawing the Key Stone: 2–4 days (18–30 hours)

 

Printing Key Transfers to Color Stones: 0.5–1 day

 

Drawing All Color Stones:

 

Simple stones (flat color fills): ~1 day each

 

Complex stones (shaded or detailed): 1.5–2 days each

 

For a 10-color job: ~14–18 days total

 

Proofing and Corrections: 3–5 days

 

Total Working Time: ≈ 20–28 working days

Elapsed Time: ≈ 4–6 weeks for one lithographer/artist, supported by press operators.

 

Large firms with multiple artists could reduce elapsed time, but decorative trunk-lid work was often done at an artisanal pace rather than mass-production speed.

 

Total direct chromolithographic employment in U.S. ca. 1890–1900: ~10,000–12,000 workers.

(This excludes related trades like engravers, photographers, and bindery workers who might work with litho output.)

 

V. Estimated 1880s Production Cost

 

Using data from American and British lithographic trade catalogs, printers’ journals, and jobbing price lists from the 1870s–1890s:

 

Artist’s Fee (design and stone drawing): $25–$40

 

Stone Preparation & Etching: $5–$8

 

Presswork per Color: $1.50–$3 per 1,000 impressions, per color stone

 

Materials:

 

Bavarian limestones (reusable): $3–$5 each (capital cost)

 

Inks and gum/acid solutions: $2–$4 per job

 

Transfer paper: ~$1 per job

 

Overhead (shop labor, utilities, depreciation): $5–$10 per job

 

For a 10-color image at a run of 500–1,000 prints:

 

Total Cost to Client (1880s): ≈ $50–$75

 

Higher runs reduced per-unit cost sharply, but initial image creation (especially artist’s labor) was a fixed, front-loaded expense.

 

VI Occupational Hazards in 19th-Century Chromolithography

 

While the 1880s chromolithographic process produced vivid, durable images, it also exposed workers to toxic pigments, solvents, and dusts. These materials posed significant health risks, and historical evidence from trade journals, factory inspection reports, and medical literature of the period confirms that occupational disease was common in the printing trades, including lithography.

 

1. Pigments

 

Many of the brilliant, permanent colors relied on heavy-metal compounds. Examples include:

 

Chrome Yellow – Lead chromate (PbCrO₄). Bright, opaque yellow used for ornaments and underlayers. Risks: lead poisoning (anemia, colic, neurological damage) and chromium-induced skin and respiratory irritation.

 

Emerald Green / Paris Green – Copper acetoarsenite. Vivid green for foliage and decorative borders. Risks: arsenic poisoning (skin lesions, respiratory illness, systemic toxicity).

 

Vermilion – Mercuric sulfide (HgS). Rich red for accents. Risks: mercury poisoning (tremors, mood disorders, cognitive decline).

 

White highlights – Lead carbonate (PbCO₃). Risks: lead poisoning.

 

Red lead (Pb₃O₄) – Used for some warm red tones. Risks: lead poisoning.

 

Cobalt pigments – Blues; less toxic than lead or arsenic but hazardous in dust form.

 

Prussian Blue – Ferric ferrocyanide; relatively low toxicity, but dust inhalation was still discouraged.

 

Exposure pathways: Pigment dust during grinding/mixing; skin contact; ingestion via contaminated hands or food.

 

2. Inks and Solvents

 

Oil-based inks were ground with linseed oil and diluted with turpentine or benzene-type solvents.

 

Benzene, not yet recognized as a carcinogen, was associated with dizziness, headaches, and chronic neurological symptoms in exposed workers.

 

Turpentine caused skin irritation and, in high vapor concentrations, respiratory distress.

 

3. Etching and Stone Preparation

 

Etching solution: Gum arabic mixed with dilute nitric acid. Nitric acid vapors could irritate eyes, throat, and lungs.

 

Stone graining/polishing: Pumice and sand were used to prepare stones, generating silica dust, a cause of silicosis with chronic inhalation.

 

4. Documented Health Effects

 

Contemporary medical and trade sources document:

 

Lead poisoning (“painter’s colic,” tremors, muscle weakness, abdominal pain, memory loss).

 

Arsenic toxicity (skin eruptions, sore throat, chronic cough, systemic symptoms).

 

Mercury poisoning (tremor, mood instability, cognitive changes).

 

Chronic bronchitis and eye irritation from acid fumes.

 

Silicosis in long-serving stone preparers and press workers exposed to fine dust.

 

5. Workplace Practices

 

Little or no protective equipment was used.

 

Workers frequently ate, drank, or smoked at their benches.

 

Ventilation was often inadequate, especially in winter when windows stayed closed.

 

Mechanical pigment mixers and enclosed presses, which reduced dust and vapor exposure, only began to appear in larger firms in the late 19th century.

 

Conclusion:

 

The production of chromolithographs in the 1880s was not only an artistic and technical achievement but also a process with significant hidden costs to the health of the workers who produced them. The durability and brilliance of these prints often came at the expense of prolonged exposure to lead, arsenic, mercury, acid vapors, and fine dust—a reality rarely acknowledged in decorative trade literature of the period.

 

VII. Summary

 

This 1880s trunk-lid chromolithograph was the product of 20–28 working days of skilled labor by a lithographer, supported by a press crew, and costing the client the equivalent of several thousand dollars in today’s money.

 

It required:

 

Freehand artistry for portraits, landscapes, and organic elements.

 

Ruler-and-compass precision for ornamental borders and geometric motifs.

 

Stone-by-stone planning of transparent color overlaps.

 

Exact registration across 10 separate printings.

 

The result was a brilliantly colored, durable image, perfectly suited to enliven the interior of a travel trunk—and to survive for well over a century.

 

Supplement

 

i. The development of chromolithography in the Europe and the US.

 

Europe: Development

 

Early 19th century – Foundations in Bavaria and France

Senefelder himself experimented with multi-color printing almost from the start (he wrote about “polyautography” in his 1818 treatise), but the technical and economic obstacles kept most lithography single-color for decades.

 

1830s – Practical multi-color experiments in France

The first systematic attempts to produce full-color lithographs by using separate stones for each color occurred in France. The printer Godefroy Engelmann of Mulhouse and Paris is widely credited with perfecting the process and securing a patent for “chromolithographie” in 1837.

 

Engelmann’s innovation was to work out methods for precise registration of multiple stones, using transparent inks to blend colors and produce painterly effects.

 

1840s – Refinement in Paris and Munich

French and Bavarian firms refined techniques for preparing multiple stones, planning color separations, and printing in sequence. Early chromolithographs were often high-art reproductions—costly, with limited runs.

 

Europe: Commercialization

 

1850s – Popularization in France, Germany, and Britain

 

Advances in presses, inks, and stone preparation allowed larger runs at lower cost. In Paris, firms like Lemercier mass-produced decorative prints, maps, and reproductions. In Munich, firms like Strixner & Cie became known for rich color art plates. In Britain, the process was adopted for book illustration and advertising.

 

1850s–1860s – Introduction to the United States

 

Chromolithography reached the U.S. in the early 1840s, but true commercial-scale production took off after the Boston lithographer Louis Prang began producing high-quality, multi-color prints in the 1860s.

 

Prang’s work—especially his Christmas cards and art reproductions—made chromolithography a household term in America.

 

1870s–1890s – Peak commercial use

 

By this period, chromolithography had become the dominant method for high-quality color printing in advertising (trade cards, posters, packaging), decorative art prints, maps, and ephemera such as the trunk-lid prints you’re studying. The combination of improved stone-handling, faster presses, and cheaper inks made it possible to produce vivid, durable color images for a mass market.

 

Timeline: Chromolithography in the United States

 

1820s – First lithographic presses appear in major U.S. cities; work is monochrome, with color added by hand.

 

1840s – Small-scale multi-color experiments begin in American shops. Imported European chromolithographs are sold to wealthy buyers but domestic production is limited.

 

1850s – Chromolithography begins to be practiced in Boston, New York, and Philadelphia, often by immigrant printers trained in Europe. Still mainly used for maps, sheet music covers, and decorative prints.

 

1860s – Louis Prang of Boston pioneers high-quality American chromolithography. His “Prang’s Chromos” (art reproductions and greeting cards) become nationally known. Multi-stone, transparent-ink printing becomes more common in U.S. advertising and fine-art work.

 

1870s – Rapid expansion of chromolithography in commercial advertising. Used for trade cards, cigar box labels, and posters. Printing technology improves, allowing finer registration and larger press runs.

 

1880s–1890s – Chromolithography reaches industrial scale in the U.S. Bright, durable color images appear on everything from product packaging to educational charts and decorative items such as trunk-lid liners. Multi-stone printing (8–12 colors) is standard for high-quality work, with both freehand and ruler-based drafting techniques used in the same design.

 

ii The End of Commercial Chromolithography

 

How Rapidly Chromolithography Was Abandoned

 

1890s: Chromolithography still dominant for posters, packaging, and decorative prints, but halftone work begins to capture advertising and magazine illustration.

 

1900–1910: Offset lithography and letterpress with color halftones begin to outcompete chromolithography for most commercial uses.

 

1910s–1920s: The shift accelerates — offset can print faster, at lower cost, with acceptable color fidelity.

 

Chromolithography survives mainly in high-art reproductions and specialty decorative work.

 

1930s: In the U.S. and Europe, chromolithography is effectively obsolete for mass-market commercial jobs. The skill of hand-drawing multi-stone separations becomes rare.

 

Post-1930s: Only a few fine-art printers and specialty houses continue using chromolithography, often as a deliberate artisanal choice rather than a commercial necessity.

  

This text is a collaboration with Chat GPT.

Timing must be precise. Taken at about 20 min after sunset.

The Light Rail Transit (LRT) (Simplified Chinese: 轻轨列车系统; Malay: Sistem Rel Ringan; Tamil: fill in), frequently also expanded as Light Rapid Transit, is the light rail component of Singapore's rail network, consisting of localised rail systems acting as feeder services to the Mass Rapid Transit network. The first LRT line was opened in 1999 and the system has since expanded to three lines, each serving a public housing estate. It is an automated system without a driver.

 

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•Apply ¼ teaspoon cream into soft tissue areas such as inner arms twice daily day 16-28 of your menstrual cycle. (day 1 is the first day of bleeding)

 

Canon EOS 1100D

Running Ubuntu Precise Pangolin 12.04 (beta), with XBMC Media Center and plugin Spotimc for Spotify access. Spotimc is still in Alpha-version (0.1-alpha5), but so far, no bugs appeared.

Buddhist teachings contain very precise descriptions on the process of dying, death and the stages between death and rebirth.

During his lecture in New York, Lama Ole explained the foundations of the "Tibetan Book of Death" and the "Meditation on Conscious Dying" (tib. Phowa). Through the meditation on “conscious dying” you get the opportunity to work intensively with the process of your own death.

Lama Ole Nydahl received the transmission of the Phowa teachings from different Tibetan Lamas and is today the most significant teacher of this practice in the Western world. More than 80,000 people learned the "Meditation on Conscious Dying" (tib. Phowa) through him.

More about his work: www.lama-ole-nydahl.org/his-work/

- Precise + 18500, C9LV, Super T Whistle T-Tip (drip version)

- ego, 306 LR, Blue drip tip

- Hatch, Clearomizer CE2, drip tip

- ego-T battery, 306 LR, drip tip

Still need to be more precise

Landy

 

Precise Next Generation Design and Stout Construction

The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

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: 10

 

Capacity - Weight: 1,400 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

Want sharp optics, a precise German shutter and ability to take instant photos on a 3x4" film? Based on a standard Polaroid 420 Automatic Land Camera, this camera has been extensively modified to be able to shoot at professional standards.

 

The original f8.8 lens and automatic shutter have been replaced with a 1960's, Industar, multi-coated 110mm, f4.5 lens (based on a Zeiss Ikon design), which is mounted in a Pronto size 0 shutter. The shutter features full X-sync for flash, cable release socket, bulb mode and self timer, making it perfect for shooting in all scenarios. The mechanical nature of the shutter also means that the camera does not require batteries.

 

The new 110mm lens is not only faster than the original lens, but also much sharper, and delivers results on par with a Polaroid 180. It features a beautifully shallow depth of field when wide open, with lovely bokeh. Coverage is 100% full frame, with no vignetting. This makes the camera the perfect choice for anyone wanting manual control over their shots, on a totally unique camera.

 

Features:

- Industar, 110mm, f4.5 coated glass lens (based on a Zeiss Ikon design)

- Pronto size 0 shutter, with bulb mode, cable release and X-sync for flash, range from 1/200th to bulb mode. The shutter also features a countdown timer for timed shots.

- Aperture range from f4.5 to above f22

- Lens adapter to accept any 43mm filters

- Twin window rangefinder/viewfinder with projected framelines and automatic parallax compensation rangefinder/viewfinder

- Cold shoe mount for flash and other accessories

- Removable front cover

- Folding bellows design

- Neck strap

- Storage area at the back of the camera, for cleaning cloths etc

- Custom black accents

- Compatible with ALL Type 100 films, such as Fuji FP-100C and FP-3000B, as well as expired Polaroid brand films.

 

The 110mm Industar lens has been re-calibrated and mounted to focus optimally with the original 114mm rangefinder, with sharp portraits the number one priority. Infinity distance is also nice and sharp.

 

Lastly, the camera has had it's original light grey panels and doors replaced with some nice sleak black ones, giving the camera a stealthy look. The rear door also features a count-down timer, which counts down the seconds required for the film to develop.

By pairing the capabilities of X-ray analysis and extremely precise microscopy, scientists at Argonne have developed a way to simultaneously determine the physical structure and chemical makeup of materials at close to the atomic level.

 

Above: Postdoctoral researchers Marvin Cummings (at right) and Nozomi Shirato adjust the microscope before an experiment.

 

Read more »

 

When planning the precise and delicate procedure to remove a brain tumor, a neurosurgeon needs to know the exact location and dimensions of the invasive growth and the surrounding tissue. Because of the brain’s intricate network of neural pathways, altering one spot can adversely affect a patient’s speech, vision, mobility and cognition.

 

Nagarajan's lab specializes in detailed, high-fidelity brain imaging using magnetoencephalography (MEG), a quick, noninvasive procedure that measures the brain’s electromagnetic signals to visualize how things work inside.

 

Read the story at ctsi.ucsf.edu/news/about-ctsi/mapping-brain-predict-surge...

 

Learn more about Nagarajan's research at UCSF Profiles profiles.ucsf.edu/ProfileDetails.aspx?From=SE&Person=...

The wheel saw attachment cuts through asphalt, concrete, frozen ground and wire mesh. It is ideal for precise cuts on road repairs and utility installations.

 

Every day, Negba help children at risk. To know how, please visit our web site : www.negba.org

Have you EVER opened a pen on a plane and had "problems" that occurred due to cabin pressure? I mean, I appreciate the helpful hint, but I guess I just never thought about it like this before.

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

Au loin le sommet du Vignemale , plus précisément la Pique Longue. Avec ses 3 298 m , c'est le point culminant de la région Midi-Pyrénées et le quatrième plus haut massif des Pyrénées. Parc national des Pyrénées. France

  

Far away the peak of Vignemale, also named "La pique longue". With 3 298 m, this peak is the culmination of the Midi-Pyrenees and the fourth highest peak in the massif of the Pyrenees.French Pyrenees National Park. France

 

Fuji Reala film scanned with Nikon Coolscan V ED

1. Quite a precise message., 2. Message for my friends, 3. Message #3, 4. Message #1, 5. Message, 6. squared circle with a message, 7. Message from London, 8. The Message, 9. Secret message, 10. Message, 11. Text message poster, 12. self explaining addiction, 13. your karma is leaking, 14. good advice, 15. ... and Nice Shoes. I Like You., 16. Message in a bottle?, 17. Crosswalk anti-smoking message, Singapore, 18. Secret Message, 19. Message in a Bottle 1, 20. New Twitter Message?, 21. 9.29.06: Ghost putty., 22. hearts, 23. Message from Paul Graham, 24. Promises, promises, 25. Multimedia message, 26. I miss you., 27. "I just feel to cry.", 28. "Increase The Peace", 29. message of love?, 30. RESPECT, 31. Tweeting on a glassboard, 32. Life question..., 33. Public Service Announcement, 34. flee_from_conformity, 35. Sueña más trabaja menos, 36. I don't take orders

 

Created with fd's Flickr Toys.

Director Theophilus Raynsford Mann

 

~ a Taiwanese social reformer, philosopher, photographer, and film director

 

“Do Everything for My People”

  

馬天亮導演

 

~ 臺灣的社會改革者，哲學家，攝影師，和電影導演

 

《造福人民》

  

SUMMARY

 

Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.

  

Early Life and Record of Genealogy

 

Theophilus Raynsford Mann possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Mann about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Mann takes great pride in his roots, which go back 150 years (since 1864); Mann’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.

  

Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa

 

In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.

 

In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Mann’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.

 

Backing to Mann’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.

  

Early Career

 

In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.

  

Study Abroad and Immigration into the United Kingdom

 

In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013 www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Mann immigrated into the United Kingdom in the early year of 2004.

  

PHILOSOPHICAL VIEWS

 

Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.

 

Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.

 

During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?

  

FAIRNESS and JUSTICE

 

As Theophilus Raynsford Mann’s saying are:

 

“Touching Fairness and Justice”

 

Feel good about themselves, but do not know the sufferings of the people...

Who can get easy life like them?

What is profile of modern society?

What type and style is truly solemn for this society identify?

Where “the characterization” is? Who can see? Did you see it?

 

《感動的公平與正義》

 

自我感覺良好, 不知民間疾苦...

誰能得到安逸的生活如同他們一樣？

這是個什麼樣子的社會？

這個社會認定什麼樣的類型和風格是真正莊重的?

「特徵」在那裡？誰可以看到？你看到了嗎？

  

Jurisprudence and Political Philosophy and Perspectives

 

Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.

 

According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.

 

The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.

 

Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.

 

Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.

 

In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.

 

In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.

 

No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.

 

The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.

 

Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.

 

Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.

 

The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.

  

Developed a Technique for Abstract Photography and Abstractionist

 

In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.

  

Photographic Exhibitions

 

Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.

一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展

 

Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.

馬天亮『光影』攝影特展（個人展32場）1983〜1985年.

 

Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.

  

Modernization in the Modern Abstract Arts of Taiwan

 

Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.

 

In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.

  

Became an Author and a Scholar

 

In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.

  

Authorship

 

Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.

  

Became an Academic and Film Director

 

Today, Mann is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.

  

Director Works:

FILMS:

Experimental Film “New Image for the Spring” © 1982

Documentary Film “Rayonnisme” © 2011

“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)

 

FASHION SHOWS:

New Image for the Spring of Shapely Models International © 1982

High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982

 

ART EXHIBITIONS:

The Cadillac Club International Fine Arts Exhibition © 1981

The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981

  

Musician Work:

MUSIC COMPOSITION:

Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.

  

PHOTOGRAPHIC ALBUMS:

Portrait and Landscape in France © 2000

Portrait and Landscape in Scotland © 2001

Portrait and Landscape in England © 2009

Portrait at Queen Mary, University of London © 2010

Rayonism of London © 2011

Portrait at The University of Nottingham, United Kingdom © 2011

Snowy London © 2012

Portrait at King's College London © 2013

  

BOOKS:

Scenario Original 「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.

“Album of the Cadillac Club International Fine Arts Exhibition” © 1981

“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981

“Album of New Image for the Spring of Shapely Models International” © 1982

“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982

“Romantic Carol” © 1982

Album of Academic Work for News Publication: “Theophilus Raynsford Mann Photographic Exhibitions of Rayonnisme” © May 1985

New version of scenario original “The Soul's Sentimentalizing” (to be published)

「曾經輝煌到頂天立地」(individual biography, to be published)

“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)

「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)

  

Research Interests:

 

University of Oxford

Research Studies in Archaeology:

Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.

 

National Taiwan University

Graduate Certificate,

Graduate Institute of Electrical Engineering:

Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.

 

University of Glamorgan

M.Sc. Course,

Master of Science in Real Estate Appraisal:

Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.

 

National Sun Yat-Sen University

Postgraduate Certificate,

Postgraduate Studies in Computing:

Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.

  

Associations:

 

Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.

 

Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.

 

Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)

 

Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.

 

Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.

 

On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.

near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...

 

Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.

  

Honours:

 

Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.

中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.

 

On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.

  

Careers:

 

Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:

Academia,

Teaching and Research:

business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and filmmaking.

www.facebook.com/stlra/info

教學與研究：

企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和製作影片。

 

Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:

consultants of immigration, translations, and legal services.

www.facebook.com/elcits/info

永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：

移民事務，翻譯和法律服務。

 

Computer Hardware & Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:

Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.

www.facebook.com/maaelec/info

計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。

 

Film Director and Photographer at Shapely Studio of Creative and Cultural Industries, 2 April 2007 to present in London, United Kingdom:

1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.

www.facebook.com/sscci/info

 

Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:

Social Reform in Taiwan

www.facebook.com/twreform/info

  

《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.

Website

mtltwp.pixnet.net/album/set/1265174

album.blog.yam.com/mtltwp

photo.roodo.com/photos/mtltwp/albums/small/100469.html

www.facebook.com/hy22tss/info

www.facebook.com/tsstrm/info

  

Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.

Website

mtltwp.pixnet.net/album/set/1265208

www.facebook.com/sonate1c/info

www.facebook.com/piano1c/info

  

LINKS:

 

University of California, Berkeley

berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...

berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...

oskicat.berkeley.edu/record=b11283690~S1

 

University of Michigan

mirlyn.lib.umich.edu/Record/006237256

catalog.hathitrust.org/Record/006237256

 

WorldCat® Identities

www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...

www.worldcat.org/wcidentities/np-ma,%20tianliang$1958

 

Google Books

books.google.co.uk/books?id=PkyaAAAAIAAJ&redir_esc=y

books.google.co.uk/books?id=JfxnMwEACAAJ&dq=editions:...

scholar.google.com/scholar?cluster=3569983911138966023&am...

 

National Bibliographic Information Network (NBINet)

nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...

192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE

 

National Yang Ming University 國立陽明大學

library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...

 

National Taiwan University of Science and Technology 國立臺灣科技大學

millennium.lib.ntust.edu.tw/record=b1016706~S1

 

Wikimedia Commons 維基共享資源

commons.wikimedia.org/w/index.php?search=TianLiang+Maa+%E...

commons.wikimedia.org/wiki/File:TianLiang_Maa_馬天亮.jpg

commons.wikimedia.org/wiki/File:馬天亮_TianLiang_Maa.jpg

 

國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引

readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...

 

聲音藝術的審美角度, 大學雜誌, 天然

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...

 

為文化中心把脈, 幼獅文藝

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,

 

科學家與守財奴, 中國地方自治

weblib.exam.gov.tw/ccdb2/Result_List.asp?idx_id=CCVOL&...

 

Yahoo, Bing, Google Search

www.google.com/search?q=Theophilus+Raynsford+Mann

www.google.com/search?q=馬天亮

www.google.com/search?q=TianLiang+Maa

images.search.yahoo.com/search/images;_ylt=AwrB8pGXJyVTVm...

www.bing.com/images/search?q=tianliang+ma&go=&qs=...

 

Atomzone

atomzone.co.uk/images/search/Theophilus+Raynsford+Mann

 

lurvely.com www.lurvely.com/photographer/77438197_N03/

 

portfotolio.net/mtltwp

portfotolio.net/mtltwpprof

 

www.flickriver.com/photos/mtltwp/

www.flickriver.com/photos/mtltwpprof/

 

Nature - National Library Board Singapore

snap.nl.sg/searchflickr.aspx?q=Theophilus+Raynsford+Mann&...

 

画像検索

flickr.akitomo.net/Theophilus+Raynsford+Mann/1

 

Japan Photos and Pictures

japan.pictures-photos.com/professor-tianliang-maa%E2%80%A6

summer.pictures-photos.com/professor-tianliang-maa%E2%80%A6

 

far-east-movement - Blogcu (Turkey)

far-east-movement.blogcu.com/professor-tianliang-maa/1226...

 

A Story of Professor Theophilus Raynsford Mann

spirehim.com/3450/a-story-of-professor-tianliang-maa-theo...

 

Sports Wallpapers

www.gosportwallpaper.com/photos/8c8e0fd510/photographer-a...

www.gosportwallpaper.com/photos/obey-tumblr.html/page/57

 

Travel Splash

travel-splash.com/photos/view.php?id=13397167315&sear...

 

Country profile Taiwan

atomzone.co.uk/images/search/Country+profile+Taiwan

 

itpints

www.itpints.com/?q=TianLiang+Maa&sources%5b%5d=flickr...

 

AskJot

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Who is talking

whotalking.com/flickr/Theophilus+Raynsford+Mann

 

University of California, Berkeley period

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University of Michigan period

atomzone.co.uk/scaffold/images/search/University%20of%20M...

 

University of Oxford period

atomzone.co.uk/scaffold/images/search/University%20of%20O...

www.wer-ist.org/person/Oxford_Archaeology

 

University of Glamorgan period

atomzone.co.uk/images/search/University+of+Glamorgan+period

www.worldofbuildings.worldofbuildings.org/flickr/wob_flic...

www.wer-ist.org/person/Glamorgan_University

 

University of Huddersfield period, UK. Huddersfield period

atomzone.co.uk/scaffold/images/search/Huddersfield%20period

 

art galleries uk

artgalleriesuk.blogspot.co.uk/2012/08/bigandtall-stores-s...

 

Mitrasites system

sites.google.com/site/mitrasites/system/app/pages/customS...

 

articles.whmsoft

articles.whmsoft.com/related_search.php?keyword=Tianliang...

 

pantieslace-forwomen.blogspot.co.uk/2012/08/motherhood-ma...

3piece-suits.blogspot.co.uk/2012/07/nursing-shawl-become-...

3piece-suits.blogspot.co.uk/2012/08/body-briefers-childre...

modeling-agencies-inboston.blogspot.co.uk/2012/08/black-a...

 

www.flickriver.com/search/%E6%BC%A2%E5%AD%B8+OR.../intere...

www.flickriver.com/search/%E8%AB%96%E6%96%87+OR.../recent/

 

German

www.wer-ist.org/person/Jin_Mann

 

www.pediatr.org.tw/DB/News/file/1913-1.pdf

 

atomzone.co.uk/images/search/Director+Theophilus+Raynsfor...

  

HOMEPAGE

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Facebook facebook.com/tmanntw

 

Google Profile

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YouTube www.youtube.com/watch?v=mqZCtzVdwIU

 

VideoRes

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Mashpedia VideoPlayer

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Baidu Space 百度空间

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LiveJournal

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Scribd

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yam 天空部落

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eMail

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ICQ tmanntw@gmail.com

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Tel +44 (0)7575 288 016

 

 

Precise Next Generation Design and Stout Construction

The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.

Serge Nsombo follows a precise feeding schedule for his fish. The fish feed is mainly a mixture of maize meal and soya beans.

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

Pilot Precise Grip

Devrais-je préciser que Morley est une artiste et une femme fabuleuse ?

 

Should I make clear that Morley is a fab' artist and a fab' woman ?

 

"That bird over the ocean see’s its shadow big and strong

No it's not an illusion she's been up there for so long

Swoop like an arrow, like a jet plane, like a dream

Sing, she is singing and she’s singing right through me

She said:

Child your voice is the sound-wave of your soul

Listen carefully to what you know

You've been here before and you have grown

All that is seen cannot be shownIn a flash over the ocean

Over the roof tops over my head

Gone she was gone, will I remember what she said ?

Stand like a mountain through injustice through the Strain

Forgive like the prophets over and over again

She said:

Child your voice is the sound-wave of your soul

Listen carefully to what you know

You've been here before and you have grown

All that is seen cannot be shown

Slow, slowly I take my turn

And the flame grows taller as I learn

One, one by one so high

The ones I love take to the sky

When, when it comes my time

Will I leave a trail of light

My soul over the ocean

Will see its shadow big and strong

No it wont be an illusion

May I have been up there for so long

I’m gonna swoop like an arrow, like a jet plane, like a Dream

Forever be singing, like she singing straight through me

She said:

Child your voice is the sound-wave of your soul

Listen carefully to what you know

You've been here before and you have grown

All that is seen cannot be shown..."

[Bird Over The Ocean]

 

En concert au Moods à Monaco.

 

www.morleymusic.org/

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

via WordPress 10healthyeatingtips.net/precise-portions-ppk-pk4bwl-show-...

“Joseph G. Gavin Jr. (September 18, 1920 – October 30, 2010) was an American engineer responsible for the development of the Lunar Module used in the Apollo program, as well as president, chief operating officer and chairman of the executive committee of the Grumman Corporation.

 

He was director of the Lunar Module program for Apollo. In that capacity he managed the team of 7,500 people which oversaw landing of the lunar module on the Sea of Tranquility on the Moon, on July 20, 1969. He was also critical to saving the Apollo 13 mission. Gavin was also in charge of development of Orbiting Astronomical Observatory at Grumman.

 

In 1971, Gavin received NASA's Distinguished Public Service Medal for his role in resolving the Apollo 13 crisis.  He was elected to the National Academy of Engineering in 1974 "for leadership in the design and the production of the Apollo Lunar Module". Neil Armstrong called him a "highly regarded aerospace engineer".”

 

Above at/from:

 

en.wikipedia.org/wiki/Joseph_G._Gavin_Jr

Credit Wikipedia

 

Understandably, there is no shortage of material on Mr. Gavin. A few below:

 

www.collectspace.com/ubb/Forum38/HTML/001241.html

Credit: collectSPACE website

 

news.mit.edu/2010/obit-gavin

Credit: MIT News website

 

Excellent reading:

 

historycollection.jsc.nasa.gov/JSCHistoryPortal/history/o...

 

Excellent reading

 

www.andrewerickson.com/2019/07/my-apollo-11-50th-annivers...

Credit: Andrew S. Erickson website

 

www.nasa.gov/wp-content/uploads/static/history/alsj/LM16_...

Credit: ALSJ website

 

Excellent reading:

 

infinite.mit.edu/video/joe-gavin-%E2%80%9C-lunar-module-d...

Credit: “Infinite MIT” website

 

While I’m no expert on Mr. Gavin’s autograph/signature, I have no reason to doubt its authenticity. Although the strokes are sort of chopped, I don’t think it’s an autopen. It’s just not a flowing type of signature style.

The rocket on the wall is AS-201.

i0.wp.com/www.drewexmachina.com/wp-content/uploads/2016/0...

Credit: Andrew LePage/Drew Ex Machina blog/website

 

The Lunar Module model on the desk looks to be that manufactured by Precise Models, Inc., of Elyria, Ohio, where I grew up. Wearing his GAEC ID badge, it’s logical to assume this photo was taken at GAEC headquarters in Bethpage, Long Island, New York.

 

Minor handling marks along the right border & "bumped" lower right corner do not detract. Of superb gloss.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

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: 10

 

Capacity - Weight: 1,400 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

Director Theophilus Raynsford Mann

 

~ a Taiwanese social reformer, philosopher, photographer, and film director

 

“Do Everything for My People”

  

馬天亮導演

 

~ 臺灣的社會改革者，哲學家，攝影師，和電影導演

 

《造福人民》

  

SUMMARY

 

Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.

  

Early Life and Record of Genealogy

 

Theophilus Raynsford Mann possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Mann about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Mann takes great pride in his roots, which go back 150 years (since 1864); Mann’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.

  

Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa

 

In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.

 

In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Mann’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.

 

Backing to Mann’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.

  

Early Career

 

In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.

  

Study Abroad and Immigration into the United Kingdom

 

In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013 www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Mann immigrated into the United Kingdom in the early year of 2004.

  

PHILOSOPHICAL VIEWS

 

Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.

 

Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.

 

During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?

  

FAIRNESS and JUSTICE

 

As Theophilus Raynsford Mann’s saying are:

 

“Touching Fairness and Justice”

 

Feel good about themselves, but do not know the sufferings of the people...

Who can get easy life like them?

What is profile of modern society?

What type and style is truly solemn for this society identify?

Where “the characterization” is? Who can see? Did you see it?

 

《感動的公平與正義》

 

自我感覺良好, 不知民間疾苦...

誰能得到安逸的生活如同他們一樣？

這是個什麼樣子的社會？

這個社會認定什麼樣的類型和風格是真正莊重的?

「特徵」在那裡？誰可以看到？你看到了嗎？

  

Jurisprudence and Political Philosophy and Perspectives

 

Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.

 

According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.

 

The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.

 

Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.

 

Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.

 

In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.

 

In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.

 

No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.

 

The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.

 

Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.

 

Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.

 

The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.

  

Developed a Technique for Abstract Photography and Abstractionist

 

In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.

  

Photographic Exhibitions

 

Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.

一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展

 

Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.

馬天亮『光影』攝影特展（個人展32場）1983〜1985年.

 

Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.

  

Modernization in the Modern Abstract Arts of Taiwan

 

Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.

 

In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.

  

Became an Author and a Scholar

 

In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.

  

Authorship

 

Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.

  

Became an Academic and Film Director

 

Today, Mann is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.

  

Director Works:

FILMS:

Experimental Film “New Image for the Spring” © 1982

Documentary Film “Rayonnisme” © 2011

“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)

 

FASHION SHOWS:

New Image for the Spring of Shapely Models International © 1982

High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982

 

ART EXHIBITIONS:

The Cadillac Club International Fine Arts Exhibition © 1981

The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981

  

Musician Work:

MUSIC COMPOSITION:

Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.

  

PHOTOGRAPHIC ALBUMS:

Portrait and Landscape in France © 2000

Portrait and Landscape in Scotland © 2001

Portrait and Landscape in England © 2009

Portrait at Queen Mary, University of London © 2010

Rayonism of London © 2011

Portrait at The University of Nottingham, United Kingdom © 2011

Snowy London © 2012

Portrait at King's College London © 2013

  

BOOKS:

Scenario Original 「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.

“Album of the Cadillac Club International Fine Arts Exhibition” © 1981

“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981

“Album of New Image for the Spring of Shapely Models International” © 1982

“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982

“Romantic Carol” © 1982

Album of Academic Work for News Publication: “Theophilus Raynsford Mann Photographic Exhibitions of Rayonnisme” © May 1985

New version of scenario original “The Soul's Sentimentalizing” (to be published)

「曾經輝煌到頂天立地」(individual biography, to be published)

“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)

「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)

  

Research Interests:

 

University of Oxford

Research Studies in Archaeology:

Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.

 

National Taiwan University

Graduate Certificate,

Graduate Institute of Electrical Engineering:

Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.

 

University of Glamorgan

M.Sc. Course,

Master of Science in Real Estate Appraisal:

Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.

 

National Sun Yat-Sen University

Postgraduate Certificate,

Postgraduate Studies in Computing:

Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.

  

Associations:

 

Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.

 

Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.

 

Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)

 

Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.

 

Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.

 

On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.

near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...

 

Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.

  

Honours:

 

Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.

中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.

 

On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.

  

Careers:

 

Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:

Academia,

Teaching and Research:

business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and filmmaking.

www.facebook.com/stlra/info

教學與研究：

企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和製作影片。

 

Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:

consultants of immigration, translations, and legal services.

www.facebook.com/elcits/info

永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：

移民事務，翻譯和法律服務。

 

Computer Hardware & Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:

Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.

www.facebook.com/maaelec/info

計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。

 

Film Director and Photographer at Shapely Studio of Creative and Cultural Industries, 2 April 2007 to present in London, United Kingdom:

1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.

www.facebook.com/sscci/info

 

Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:

Social Reform in Taiwan

www.facebook.com/twreform/info

  

《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.

Website

mtltwp.pixnet.net/album/set/1265174

album.blog.yam.com/mtltwp

photo.roodo.com/photos/mtltwp/albums/small/100469.html

www.facebook.com/hy22tss/info

www.facebook.com/tsstrm/info

  

Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.

Website

mtltwp.pixnet.net/album/set/1265208

www.facebook.com/sonate1c/info

www.facebook.com/piano1c/info

  

LINKS:

 

University of California, Berkeley

berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...

berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...

oskicat.berkeley.edu/record=b11283690~S1

 

University of Michigan

mirlyn.lib.umich.edu/Record/006237256

catalog.hathitrust.org/Record/006237256

 

WorldCat® Identities

www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...

www.worldcat.org/wcidentities/np-ma,%20tianliang$1958

 

Google Books

books.google.co.uk/books?id=PkyaAAAAIAAJ&redir_esc=y

books.google.co.uk/books?id=JfxnMwEACAAJ&dq=editions:...

scholar.google.com/scholar?cluster=3569983911138966023&am...

 

National Bibliographic Information Network (NBINet)

nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...

192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE

 

National Yang Ming University 國立陽明大學

library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...

 

National Taiwan University of Science and Technology 國立臺灣科技大學

millennium.lib.ntust.edu.tw/record=b1016706~S1

 

Wikimedia Commons 維基共享資源

commons.wikimedia.org/w/index.php?search=TianLiang+Maa+%E...

commons.wikimedia.org/wiki/File:TianLiang_Maa_馬天亮.jpg

commons.wikimedia.org/wiki/File:馬天亮_TianLiang_Maa.jpg

 

國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引

readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...

 

聲音藝術的審美角度, 大學雜誌, 天然

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...

 

為文化中心把脈, 幼獅文藝

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,

 

科學家與守財奴, 中國地方自治

weblib.exam.gov.tw/ccdb2/Result_List.asp?idx_id=CCVOL&...

 

Yahoo, Bing, Google Search

www.google.com/search?q=Theophilus+Raynsford+Mann

www.google.com/search?q=馬天亮

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Atomzone

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lurvely.com www.lurvely.com/photographer/77438197_N03/

 

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Nature - National Library Board Singapore

snap.nl.sg/searchflickr.aspx?q=Theophilus+Raynsford+Mann&...

 

画像検索

flickr.akitomo.net/Theophilus+Raynsford+Mann/1

 

Japan Photos and Pictures

japan.pictures-photos.com/professor-tianliang-maa%E2%80%A6

summer.pictures-photos.com/professor-tianliang-maa%E2%80%A6

 

far-east-movement - Blogcu (Turkey)

far-east-movement.blogcu.com/professor-tianliang-maa/1226...

 

A Story of Professor Theophilus Raynsford Mann

spirehim.com/3450/a-story-of-professor-tianliang-maa-theo...

 

Sports Wallpapers

www.gosportwallpaper.com/photos/8c8e0fd510/photographer-a...

www.gosportwallpaper.com/photos/obey-tumblr.html/page/57

 

Travel Splash

travel-splash.com/photos/view.php?id=13397167315&sear...

 

Country profile Taiwan

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itpints

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AskJot

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Who is talking

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University of California, Berkeley period

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University of Michigan period

atomzone.co.uk/scaffold/images/search/University%20of%20M...

 

University of Oxford period

atomzone.co.uk/scaffold/images/search/University%20of%20O...

www.wer-ist.org/person/Oxford_Archaeology

 

University of Glamorgan period

atomzone.co.uk/images/search/University+of+Glamorgan+period

www.worldofbuildings.worldofbuildings.org/flickr/wob_flic...

www.wer-ist.org/person/Glamorgan_University

 

University of Huddersfield period, UK. Huddersfield period

atomzone.co.uk/scaffold/images/search/Huddersfield%20period

 

art galleries uk

artgalleriesuk.blogspot.co.uk/2012/08/bigandtall-stores-s...

 

Mitrasites system

sites.google.com/site/mitrasites/system/app/pages/customS...

 

articles.whmsoft

articles.whmsoft.com/related_search.php?keyword=Tianliang...

 

pantieslace-forwomen.blogspot.co.uk/2012/08/motherhood-ma...

3piece-suits.blogspot.co.uk/2012/07/nursing-shawl-become-...

3piece-suits.blogspot.co.uk/2012/08/body-briefers-childre...

modeling-agencies-inboston.blogspot.co.uk/2012/08/black-a...

 

www.flickriver.com/search/%E6%BC%A2%E5%AD%B8+OR.../intere...

www.flickriver.com/search/%E8%AB%96%E6%96%87+OR.../recent/

 

German

www.wer-ist.org/person/Jin_Mann

 

www.pediatr.org.tw/DB/News/file/1913-1.pdf

 

atomzone.co.uk/images/search/Director+Theophilus+Raynsfor...

  

HOMEPAGE

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With issue #3 we continued with the full size format and doubled the number of pages. The covered featured Beastie Boys.

 

Inside featured works by Acrow, Ades, Aeros, Aezer, Aiomoa, Airow, AM7, Anok, Apel, Apok, Asa, Asia, Auph, Base, Blood, Bom 5, Bruin, Bsie, Cameo, Ceb, Ced, Cen, Cero, Ces, Chief, Cinge, Clear, Close, Codeak, Comic, Cue, Daim, Delta, Demo, Demon, Digit, Denser, Desk, Dev, Dome, Dork, Drone, Dymer, Enamel, Esac, Exist, Fanta, Furious, FX, Fyter, Gen, Ges, Givr, GK, God One, Goul, Hash, Hate, Heinz, Hero, Hiky, Hoka, Huge, Hype, Jear, Jeks, Jelous, Jes, Jest, Joe, Jose, Josh, Jury, Just, Kaput, Kasino, Kazm, Ked, Kedz, Kep, Kers, Kerze, Kev, Kib, Kim, King Size, Kirs, Knees, KRS, Krull, Lady Blue, Learn, Loomit, Luate, Pose 2, Per One, Precise, Puma, Punch, Pupher, Push, Raju, Random, Razer, Rebus, Red, Reksa, Reminisce, Rens, Rust, Toast, Twist (Barry McGee), Vendr, and many others.

 

Some of the articles included:

Editorial

Not Your Typical Gap Girl

Darwin Award Finalists

Phony Sweatshop Reform

Procter & Gamble Kills Animals

Banned Books in Public Schools

The top 50 Greatest MCs Ever

Fan Mail

Movie Reviews

Fitment Specifications

Wheels: Chevy Precise

Finish: Hand Brushed

24" w/ 9" Outer Lips

Nice precise fit of an original old Stronglight chainring nut in the counter-bore of the new chainring.

 

For more info or to purchase this or another low gearing chainring, browse the website: www.redclovercomponents.com/

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)

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

“A Little Tale”…

 

He was not of this earthly plane. To be precise, he was trapped here…unable to find the portal or open it, on those occasions when it became visible to him, between this earthly plane and his home on the Other side deep down in the fiery dark hot smelly bowels of hell.

 

He had been trapped on this side for so long, at least 250-300 earthly years, which to him was far too long. He hungered for his dark hot smelly cesspool of a home. Each new day he didn’t think he could endure even for one more second the singing of those creatures called birds, the bright colors of the flowers, the intensity of the sun, and oh, all that horrible lush green foliage, as well as the sound of human laughter, especially the young ones.

 

So, to avoid all that horror, he slept during the time of the light and was awake when darkness fell and that hot bright sun set. He was a denizen of the night. A creature of darkness.

 

He kept completely to himself, for the most part, when it came to interacting with those “in body” beings called humans. Although he was forced on occasion to interact with these humans, he found them repulsive. Well, truth be told, not all were repulsive to him. Being a creature from the Other side, he possessed many abilities that these repulsive humans did not. Their bodies and minds limited them and they, unaware or uncaring, didn’t know or attempt to find out that they could have at least some of the same abilities he possessed if they just opened their minds. But, they were content to be thick blocks of cement going through their pathetic daily rituals as if they were something of importance.

 

One of his abilities, and the one that alerted him to the humans that were not repulsive to him, was that he could see inside of each and every one of them… right to their very souls. He could weed through them and find the ones with the black evil hearts. Now, those were his kind of beings for he knew when they left their clumsy earthly bodies and passed through that elusive portal, separating this world from the next, they would reside in the bowels of hell, where he belonged and should be, and be like him.

 

Now, with these humans, he developed a false relationship with them. Evil as he was, he wanted no relationships, attachments or the like. No, he did this because he needed them and wanted to use them or rather their souls, when their human hearts stopped beating, indicating the body had died and their souls were released, as a means to either push their souls aside and leave them stranded and earthbound and slip through the portal to reach his home or to attach himself to their black souls as they passed through the portal to hell.

 

For two years he tried to “tag along” on the black hearts souls’ passage from his world through the portal to hell, but each time his efforts failed. When he was with them when they died, their death being a result of his actions, he saw the portal, which appeared at each black hearted human’s death, but he could not pass through it with them. Their souls, screaming in horror and terror, passed through the portal and left this world for their new residence in hell, and he remained behind.

 

When he first got trapped on this side 250-300 human years ago due to a stupid mistake on his part, he spent the first 50-100 of these human earth rotation years looking for the portal to home, but to no avail. Then, he became aware of these humans and realized he could see into them and find those with black hearts. That is when the idea came to him to either tag along or push their dark souls aside after their human hearts stopped beating and pass through the portal to home, leaving them behind.

 

But, waiting years for them to die was excruciating on top of the fact that when they did die, he was still left behind. He had to wait for their death and then he remained here…still trapped. So, he became obsessed to find a quicker way to get back to his hell. Using all his black magic and spells, as well as any tool or instrument at hand, he began to kill black hearted humans…one after another. He would go to prisons where the crop of evil hearts was more than plentiful and kill and kill and kill, tagging along or trying to push their screaming horror filled black souls aside. But, he failed each and every time. He could not understand why.

 

When he saw the portal to hell, he would get a glimpse of his home… all fiery, hot, dank, and dark and he could hear the screams of those damned to live there for eternity. His hunger to get there increased even more.

 

He held back some black hearted souls, who were grateful not to be damned and allowed to remain on this earthly plane, as his slaves to do his bidding. He would command them to kill human after human along with him and help him try to use any way possible as a means to get through that portal, but he could not. For….The Angel of Death would not let him pass through and return home to hell. He was trapped here. Trapped.

 

Each day when he slept, his mind relived the day he made that stupid blunder which caused him to remain on this side. He tried to figure out how to reverse what he had done. Day after day, earth rotation after earth rotation, he thought while he slept, but nothing came to him. No idea, no discovery, no answer, no sign…nothing.

 

But, what did come to him was the realization that because he enjoyed, no reveled, in his damnation and loved the smelly fiery bowels of hell with all the screaming and crying black hearted souls, it was deemed that was not punishment for his evil. The punishment of damnation meant he should suffer, not enjoy his fate. So, he was tricked into making that stupid error and lost access to the portal to hell, thus preventing him from going home forever. He was now, truly damned and punished.”

~ Marsha J West, Author*

 

* The “A Little Tale” is my original idea and story. I am the author of that story and it is my property. Thus, it cannot be copied, reproduced, reprinted or used in any way or any medium. Also, this hutch is my original idea, creation and design. It is also my creative property. It is not to be copied, resold or reproduced.

   

“A Little Tale”…

 

He was not of this earthly plane. To be precise, he was trapped here…unable to find the portal or open it, on those occasions when it became visible to him, between this earthly plane and his home on the Other side deep down in the fiery dark hot smelly bowels of hell.

 

He had been trapped on this side for so long, at least 250-300 earthly years, which to him was far too long. He hungered for his dark hot smelly cesspool of a home. Each new day he didn’t think he could endure even for one more second the singing of those creatures called birds, the bright colors of the flowers, the intensity of the sun, and oh, all that horrible lush green foliage, as well as the sound of human laughter, especially the young ones.

 

So, to avoid all that horror, he slept during the time of the light and was awake when darkness fell and that hot bright sun set. He was a denizen of the night. A creature of darkness.

 

He kept completely to himself, for the most part, when it came to interacting with those “in body” beings called humans. Although he was forced on occasion to interact with these humans, he found them repulsive. Well, truth be told, not all were repulsive to him. Being a creature from the Other side, he possessed many abilities that these repulsive humans did not. Their bodies and minds limited them and they, unaware or uncaring, didn’t know or attempt to find out that they could have at least some of the same abilities he possessed if they just opened their minds. But, they were content to be thick blocks of cement going through their pathetic daily rituals as if they were something of importance.

 

One of his abilities, and the one that alerted him to the humans that were not repulsive to him, was that he could see inside of each and every one of them… right to their very souls. He could weed through them and find the ones with the black evil hearts. Now, those were his kind of beings for he knew when they left their clumsy earthly bodies and passed through that elusive portal, separating this world from the next, they would reside in the bowels of hell, where he belonged and should be, and be like him.

 

Now, with these humans, he developed a false relationship with them. Evil as he was, he wanted no relationships, attachments or the like. No, he did this because he needed them and wanted to use them or rather their souls, when their human hearts stopped beating, indicating the body had died and their souls were released, as a means to either push their souls aside and leave them stranded and earthbound and slip through the portal to reach his home or to attach himself to their black souls as they passed through the portal to hell.

 

For two years he tried to “tag along” on the black hearts souls’ passage from his world through the portal to hell, but each time his efforts failed. When he was with them when they died, their death being a result of his actions, he saw the portal, which appeared at each black hearted human’s death, but he could not pass through it with them. Their souls, screaming in horror and terror, passed through the portal and left this world for their new residence in hell, and he remained behind.

 

When he first got trapped on this side 250-300 human years ago due to a stupid mistake on his part, he spent the first 50-100 of these human earth rotation years looking for the portal to home, but to no avail. Then, he became aware of these humans and realized he could see into them and find those with black hearts. That is when the idea came to him to either tag along or push their dark souls aside after their human hearts stopped beating and pass through the portal to home, leaving them behind.

 

But, waiting years for them to die was excruciating on top of the fact that when they did die, he was still left behind. He had to wait for their death and then he remained here…still trapped. So, he became obsessed to find a quicker way to get back to his hell. Using all his black magic and spells, as well as any tool or instrument at hand, he began to kill black hearted humans…one after another. He would go to prisons where the crop of evil hearts was more than plentiful and kill and kill and kill, tagging along or trying to push their screaming horror filled black souls aside. But, he failed each and every time. He could not understand why.

 

When he saw the portal to hell, he would get a glimpse of his home… all fiery, hot, dank, and dark and he could hear the screams of those damned to live there for eternity. His hunger to get there increased even more.

 

He held back some black hearted souls, who were grateful not to be damned and allowed to remain on this earthly plane, as his slaves to do his bidding. He would command them to kill human after human along with him and help him try to use any way possible as a means to get through that portal, but he could not. For….The Angel of Death would not let him pass through and return home to hell. He was trapped here. Trapped.

 

Each day when he slept, his mind relived the day he made that stupid blunder which caused him to remain on this side. He tried to figure out how to reverse what he had done. Day after day, earth rotation after earth rotation, he thought while he slept, but nothing came to him. No idea, no discovery, no answer, no sign…nothing.

 

But, what did come to him was the realization that because he enjoyed, no reveled, in his damnation and loved the smelly fiery bowels of hell with all the screaming and crying black hearted souls, it was deemed that was not punishment for his evil. The punishment of damnation meant he should suffer, not enjoy his fate. So, he was tricked into making that stupid error and lost access to the portal to hell, thus preventing him from going home forever. He was now, truly damned and punished.”

~ Marsha J West, Author*

 

* The “A Little Tale” is my original idea and story. I am the author of that story and it is my property. Thus, it cannot be copied, reproduced, reprinted or used in any way or any medium. Also, this hutch is my original idea, creation and design. It is also my creative property. It is not to be copied, resold or reproduced.

   

These two Pilot pens have different brand names. But I think they are in the same category.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

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: 10

 

Capacity - Weight: 1,400 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

The precise location of that first church has been lost. The present building dates from the time of Pope Sixtus III (432 - 440) and contains many ancient mosaics from this period. Its form so exactly follows the conventions of an imperial basilica it has at times been taken for one.[9] The Athenian marble columns supporting the nave are even older, and either come from the first basilica, or from another antique Roman building; thirty-six are marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals.[10] The 14th century campanile, or bell tower, is the highest in Rome, at 240 feet, (about 75 m.). The basilica's 16th-century coffered ceiling, to a design by Giuliano da Sangallo, is said to be gilded with Inca gold presented by Ferdinand and Isabella to the Spanish pope, initially brought by Christopher Columbus[citation needed], Alexander VI (something which factually is erroneous, since the Inca empire was conquered during the reign of Charles V). The apse mosaic, the Coronation of the Virgin, is from 1295, signed by the Franciscan friar, Jacopo Torriti. The Basilica also contains frescoes by Giovanni Baglione, in the Cappella Borghese.

  

The Piazza dell'Esquilino with the apse area of Santa Maria Maggiore.

  

The Borghese (or Pauline) Chapel

The 12th-century façade has been masked by a reconstruction, with a screening loggia, that were added by Pope Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the mosaics of the façade. The wing of the canonica (sacristy to its left and a matching wing to the right (designed by Flaminio Ponzio) give the basilica's front the aspect of a palace facing Piazza Santa Maria Maggiore. To the right of the Basilica's façade is a memorial representing a column in the form of an up-ended cannon barrel topped with a cross: it was erected by Pope Clement VIII immediately after the St. Bartholomew's Day massacre of Protestants, though today it is reputed to celebrate the end of the French Wars of Religion [1].

The Marian column erected in 1614, to designs of Carlo Maderno is the model for numerous Marian columns erected in Catholic countries in thanksgiving for remission of the plague during the Baroque era. (An example is the Holy Trinity Column in Olomouc, the Czech Republic). The column itself is the sole remaining from Constantine's Basilica of Maxentius and Constantine in Campo Vaccino, as the Roman Forum was called until the 18th century [2]; Maderno's fountain at the base combines the armorial eagles and dragons of Paul V.