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John Stuart Mill - Principles of Political Economy
edited by Donald Winch
Pelican Classics AC17, 1970
Cover: A detail from 'Forging the Shaft: a Welding Heat' by John Ferguson Weir
We have a lot of windows given by friends and neighbours for our house and garden and we're using them up in our animal houses. This one's not finished yet.
Stages of Ethical Development in Artificial General Intelligence Systems by Ben Goertzel and Stephan Vladimir Bugaj
"Balance the risks of action and inaction"
- Max More 2004
I030308 176
This text provides evidence-based principles for practice for chronic illness and disability. In addition to a solid theoretical and practical foundation for students in their 2nd and 3rd years, the book also includes a holistic framework for major and common chronic illness and disability.
For more information or to purchase this book, click here.
Fatehpur Sikri (Hindi: फ़तेहपुर सीकरी, Urdu: فتحپور سیکری) is a city and a municipal board in Agra district in the state of Uttar Pradesh, India. The city was founded in 1569 by the Mughal emperor Akbar, and served as the capital of the Mughal Empire from 1571 to 1585. After his military victories over Chittor and Ranthambore, Akbar decided to shift his capital from Agra to a new location 37 km WSW on the Sikri ridge, to honor the Sufi saint Salim Chishti. Here he commenced the construction of a planned walled city which took the next fifteen years in planning and construction of a series of royal palaces, harem, courts, a mosque, private quarters and other utility buildings. He named the city, Fatehabad, with Fateh, a word of Arabic origin in Persian, meaning "victorious." it was later called Fatehpur Sikri. It is at Fatehpur Sikri that the legends of Akbar and his famed courtiers, the nine jewels or Navaratnas, were born. Fatehpur Sikri is one of the best preserved collections of Indian Mughal architecture in India.
According to contemporary historians, Akbar took a great interest in the building of Fatehpur Sikri and probably also dictated its architectural style. Seeking to revive the splendours of Persian court ceremonial made famous by his ancestor Timur, Akbar planned the complex on Persian principles. But the influences of his adopted land came through in the typically Indian embellishments. The easy availability of sandstone in the neighbouring areas of Fatehpur Sikri, also meant that all the buildings here were made of the red stone. The imperial Palace complex consists of a number of independent pavilions arranged in formal geometry on a piece of level ground, a pattern derived from Arab and central Asian tent encampments. In its entirety, the monuments at Fatehpur Sikri thus reflect the genius of Akbar in assimilating diverse regional architectural influences within a holistic style that was uniquely his own.
The Imperial complex was abandoned in 1585, shortly after its completion, due to paucity of water and its proximity with the Rajputana areas in the North-West, which were increasingly in turmoil. Thus the capital was shifted to Lahore so that Akbar could have a base in the less stable part of the empire, before moving back to Agra in 1598, where he had begun his reign as he shifted his focus to Deccan. In fact, he never returned to the city except for a brief period in 1601. In later Mughal history it was occupied for a short while by Mughal emperor, Muhammad Shah (r. 1719 -1748), and his regent, Sayyid Hussain Ali Khan Barha, one of the Syed Brothers, was murdered here in 1720. Today much of the imperial complex which spread over nearly two mile long and one mile wide area is largely intact and resembles a ghost town. It is still surrounded by a five mile long wall built during its original construction, on three sides. However apart from the imperial buildings complex few other buildings stand in the area, which is mostly barren, except of ruins of the bazaars of the old city near the Naubat Khana, the 'drum-house' entrance at Agra Road. The modern town lies at the western end of the complex, which was a municipality from 1865 to 1904, and later made a "notified area", and in 1901 had a population of 7,147. For a long time it was still known for its masons and stone carvers, though in Akbar time it was known and 'fabrics of hair' and 'silk-spinning'. The village of Sikri still exists nearby.
ARCHITECTURE OF FATEHPUR SIKRI
Fatehpur Sikri sits on rocky ridge, 3 kilometres in length and 1 km wide, and palace city is surrounded by a 6 km wall on three side with the fourth being a lake at the time. Its architect was Tuhir Das and Dhruv Chawla and was constructed using Indian principles. The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen were used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'. It is accessed through gates along the five-mile long fort wall, namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor Gate and the Ajmere Gate.
Some of the important buildings in this city, both religious and secular are:
IMPORTANT BUILDINGS
Buland Darwaza: Set into the south wall of congregational mosque, the Jama Masjid at Fatehpur Sikri, this stupendous piece of architecture is 55 metre high, from the outside, gradually making a transition to a human scale in the inside. The gate was added some five years later after the completion of the mosque ca. 1576-1577 as an 'victory arch', to commemorate the Akbar's successful Gujarat campaign. It carries two inscriptions in the archway, one of which reads: "Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen".
The central portico comprises three arched entrances, with the largest one, in the centre, is known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to left is deep well.
Jama Masjid: It is a Jama Mosque meaning the congregational mosque, and was perhaps one of the first buildings to come up in the complex, as its epigraph gives AH 979 (AD 1571-72) as the date of its completion, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later. It was built in the manner of Indian mosques, with iwans around a central courtyard. A distinguishing feature is the row of chhatri over the sanctuary. There are three mihrabs in each of the seven bays, while the large central mihrab is covered by a dome, it is decorated with white marble inlay, in geometric patterns.
Tomb of Salim Chishti: A white marble encased tomb of the Sufi saint, Salim Chisti (1478–1572), within the Jama Masjid's sahn, courtyard. The single-storey structure is built around a central square chamber, within which is the grave of the saint, under an ornate wooden canopy encrusted with mother-of-pearl mosaic. Surrounding it is a covered passageway for circumambulation, with carved Jalis, stone pierced screens all around with intricate geometric design, and an entrance to the south. The tomb is influenced by earlier mausolea of the early 15th century Gujarat Sultanate period. Other striking features of the tomb are white marble serpentine brackets, which support sloping eaves around the parapet.
On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan I, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb is topped by a dome and thirty-six small domed chattris, and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.
Diwan-i-Aam : Diwan-i-Am or Hall of Public Audience, is a building typology found in many cities where the ruler meets the general public. In this case, it is a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkic Sultana's House stand Turkic Baths.
Diwan-i-Khas: the Diwan-i-Khas, or Hall of Private Audience, is a plain square building with four chhatris on the roof. However it is famous for its central pillar, which has a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which is connected to each corner of the building on the first floor, by four stone walkways. It is here that Akbar had representatives of different religions discuss their faiths and gave private audience.
Ibadat Khana: (House of Worship) was a meeting house built in 1575 CE by the Mughal Emperor Akbar, where the foundations of a new Syncretistic faith, Din-e-Ilahi were laid by Akbar.
Anup Talao: A ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar's residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer's Seat, in the south-west corner of the Pachisi Court.
Hujra-i-Anup Talao: Said to be the residence of Akbar's Muslim wife, although this is disputed due to its small size.
Mariam-uz-Zamani's Palace: The building of Akbar's Rajput wives, including Mariam-uz-Zamani, shows Gujarati influence and is built around a courtyard, with special care being taken to ensure privacy.
Naubat Khana: Also known as Naqqar Khana meaning a drum house, where musician used drums to announce the arrival of the Emperor. It is situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.
Pachisi Court: A square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.
Panch Mahal: A five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which is a single large-domed chhatri. Originally pierced stone screens faced the façade, and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.
Birbal's House: The house of Akbar's favorite minister, who was a Hindu. Notable features of the building are the horizontal sloping sunshades or chajjas and the brackets which support them.
Recent excavation done by ASI in 2000 led to unearthing of an ancient jain city very near to the fort complex.
Other buildings included Taksal (mint), 'Daftar Khana (Records Office), Karkhanas (royal workshop), Khazana (treasury), Turkic styled Baths, Darogha's Quarters, stables, Caravan sarai, Hakim's quarters etc.
DEMOGRAPHICS
Fatehpur Sikri has a population of 28,757. Males constitute 53% of the population and females 47%. Fatehpur Sikri has an average literacy rate of 46%, lower than the national average of 74%: male literacy is 57%, and female literacy is 34%. In Fatehpur Sikri, 59% of the population is under 6 years of age.
ADMINISTRATIVE ESTABLISHMENT
Fatehpur Sikri is one of the fifteen Block headquarters in the Agra district it has 52 Gram panchayats (Village Panchayat) under it.
The Fatehpur Sikri, is a constituency of the Lok Sabha, Lower house of the Indian Parliament, and further comprises five Vidhan Sabha (legislative assembly) segments:
Agra Rural
Fatehpur Sikri
Kheragarh
Fatehabad
Bah
In all there are 12 villages of Sisodia Rajputs near Fatehpur Sikri fort in Agra district. These are Daultabad, Nayavas, Satha, korai, Behrawati, Byara, Undera, Kachora, Singarpur, Vidyapur, Onera, Arrua.
TRANSPORT
Fatehpur Sikri is about 39 km. from Agra. The nearest Airport is the Agra Airport (also known as Kheria Airport), 40 km from Fatehpur Sikri. The nearest railway station is the Fatehpur Sikri Railway Station, about one km. from the city centre . It is suitably connected to Agra and neighbouring centres by road, where regular bus services of UPSRTC ply, apart from Tourist buses and taxies.
WIKIPEDIA
Event: The Annual Women’s Empowerment Principles, entitled “Unlimited Potential: Business Partners for Gender Equality”
hosted by UN Women and the UN Global Compact in ECOSOC chambers at United Nations Headquarters on 10 March 2015.
Welcoming remarks by:
Master of Ceremonies: Jo Confino, Executive Editor, The Guardian and Chairman & Editorial Director of Guardian Sustainable Business
Georg Kell, Executive Director, UN Global Compact
Phumzile Mlambo-Ngcuka, Under-Secretary-General and Executive Director, UN Women.
Opening remarks by: UNSGKeynote Speaker: Hon. Hillary Rodham Clinton, former US Secretary of State
Photo: UN Women/Ryan Brown
Universally useful design principles of Dieter Rams are on display at SF MOMA's exhibit, 'Less and More' from August 27, 2011 - February 20, 2012.
Malibu California Ocean Sea Cave Sunset! Epic Pacific Beach Landscape Nature Photography! Sony A7R 2 Carl Zeiss Sony Vario-Tessar T* FE 16-35mm f/4 ZA OSS Lens SEL1635Z E mount Lens! Long Exposure Fine Art Landscape Seascape HDR Elliot McGucken Photography!
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Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Enjoy my physics!! Light Time Dimension Theory dx4/dt=ic: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Ralph Waldo Emerson. “The happiest man is he who learns from nature the lesson of worship”
Lucius Annaeus Seneca: "On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!"
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
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Greetings mate! As many of you know, I love marrying art, science, and math in my fine art portrait and landscape photography!
The 45surf and gold 45 revolver swimsuits, shirts, logos, designs, and lingerie are designed in accordance with the golden ratio! More about the design and my philosophy of "no retouching" on the beautiful goddesses in my new book:
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"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
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And here's more on the golden ratio which appears in many of my landscape and portrait photographs (while shaping the proportions of the golden gun)!
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'
The dx4/dt=ic above the gun on the lingerie derives from my new physics books devoted to Light, Time, Dimension Theory!
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I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
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The Golden Ratio informs a lot of my art and photographic composition. The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo! Not so long ago, I came up with the Golden Ratio Principle which describes why The Golden Ratio is so beautiful.
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!
Read all about how classical art such as The Birth of Venus inspires all my photography!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Best wishes on your Epic Odyssey!
Homer: Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home. . . --Homer's Odyssey, Book I
Universally useful design principles of Dieter Rams are on display at SF MOMA's exhibit, 'Less and More' from August 27, 2011 - February 20, 2012.
High-level Event to launch the Principles for Responsible Banking
Remarks by the Secretary-General
Principles for Responsible banking, CEO’s signing agreement to do responsible banking
"Ten Principles", part of the 2014 Capital Fringe Festival, performing at the Fringe Preview in the Baldacchino Tent Bar.
This image is fully copyrighted. Permission is granted only to those affiliated with the Fringe Festival &/or the performers to use these photos provided that they provide the following:
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Michael Parker, Global Industry Head of Shipping & Logistics, Citi and Chair of the Poseidon Principles drafting committee.
Credits: Marine Money and John Galayda.
Wolves Play Fighting West Yellowstone! Montana Wolves Grey Wolf Wolfpack Fuji GFX100 Winter Fine Art Landscape Wildlife Photography! Elliot McGucken Fine Art West Photography! Master Medium Format Fine Art Photographer! Fujifilm GFX 100 & Fujinon FUJIFILM GF 250mm f/4 R LM OIS WR Lens!
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
Epic Fine Art Photography Prints & Luxury Wall Art:
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
VIDEO, Rocking Christmas Songs - youtu.be/Q5IF6iWf5W4
The VanDusen Garden Festival of Lights is a Christmas event that many nature-lovers have been waiting for to start the holiday season.
One of the guiding principles of the VanDusen Garden has always been to connect people to plants and the natural environment. Year-round, visitors have come here to appreciate and learn about conservation, gardening, plant lives and stories, nutrition, pollination, adopt a tree, birding in the garden and many more.
The VanDusen Garden is also a popular spot for wedding couples getting hitched.
Although there are more than 100 events happening all year, don’t think that during winter the garden would be in hibernation. No, December happens to be the busiest time of the year.
To celebrate Christmas and the Yuletide season, the garden comes alive with more than a million light bulbs illuminating all vegetation and the surrounding enclave. 1.4 million lights to be exact.
Nancy Wong, VanDusen Garden’s Public Relations Director, proudly pointed out that volunteers counted each light bulb every year and made sure they were working before putting them on.
The Festival of Lights is an extremely popular event. Families come in droves.
On the first day of the festival (Dec 02), there was a long lineup of people wanting in before the garden officially opened at 4:30 PM. In fact, visitors were advised to purchase tickets in advance at Tickets Tonight or in person at the Garden Shop at VanDusen Garden as early as Nov 1st.
Once visitors entered the garden, many of them seek out the popular Dancing Lights at Livingstone Lake in which a continuous series of strobe lights was synchronized to rock versions of familiar Christmas songs that reverberated with the audience, adults and kids alike.
Music is the universal language, no loss in translation there. It signifies the joyous season and everyone is excited to be there. Dancing Lights plays every half-hour and it has become one of the main attractions of the Festival of Lights experience.
After the light show, visitors began to explore different areas of the garden and there were plenty for them to see and enjoy - Santa’s Living Room, Gingerbread Wood, Make-a-Wish Candle Shrine, Sparkling Spruce in the centre court, Candy Cane Express model train etc.
Roaming along the brightly-illuminated Candy Cane Lane, you would likely hear a singing choir that draws you nearer or encounter two Christmas Gnomes, Svend and Jens eager to entertain.
Svend joked often in a heavy Swedish accent while Jens played his quiet and abiding partner. Their routine worked out very well I must say.
It’s the Winter Light season (not Lights, in honor of director Ingmar Bergman) and with Svend and Jens close by, you are reminded of the Swedish filmmaker’s world-famous troupe of actors including Liv Ulman, Max Von Sydow, Gunnel Lindblom and others. Ja!
After an hour or two, you just might feel hungry and it is a perfect time to have dinner at the garden. Both light fare and full meals are available at the VanDusen Garden. Dinner is also served every night at the Shaughnessy Restaurant during the Festival of Lights. Reservations are recommended.
Ho-Ho-Ho, Santa’s rocking in his chair too!
_____________________________________
Ray Van Eng is an award-winning photographer, journalist, online publisher, screenwriter and movie & TV producer. One of his videos is currently on view at the Hava Nagila Exhibit, Museum of Jewish Heritage – A Living Memorial to the Holocaust in New York City. from Sep 2012 to May 2013.
High-level Event to launch the Principles for Responsible Banking
Remarks by the Secretary-General
Principles for Responsible banking, CEO’s signing agreement to do responsible banking
Concept
The idea behind this house took account of extreme weather conditions similar to those found in desert regions, since their cooling systems demand the use of a lot of energy. The principles of traditional construction in such regions have also been taken into account when designing this house.
On the one hand, the prototype works with a higher amount of thermal mass but over the smallest possible volume of the building, thus offering very little surface for sun absorption. On the other hand, its great isolation enables the house to cool down on its own.
Technology
The design unites aesthetics with good energy use. The idea is to maintain a compact and well-insulated structure. The phase changing material is used inside to increase the thermal mass. The roof and facades are surrounded by solar panels that produce more energy than the house needs.
The aim is to use the smallest possible amount of polluting energy. Therefore, this prototype is constructed with environmentally friendly materials, such as wood. Because the house requires a lot of movement, it is designed in several modules, both in the living areas and secondary rooms, and in all their unions (which are weather-activated). This modularity provides the flexibility needed to vary the configuration of the dwelling.
The volume is divided into simple modules that can be joined together. These unions are used for lighting, ventilation, heating in the winter and for passive cooling in summer. The houses energy tower plays an essential part, along with wind and the evaporation system, which allows the cooling of air in hot, arid climates, such as that of Madrid. The joining of elements characteristic for these parts, such as the wind towers of Arabic regions or the courtyards of Spain, with modern materials, achieves a high level of comfort but consumes very little energy and it helps improve the aesthetic appearance of the building.
The energy tower captures wind, it cools air, and then it brings that air inside. Thus, we achieve a pleasant temperature inside, as well as an active cooling system. The tower allows for passive cooling of the house throughout most of the year, while adding to the houses interior design.
Universally useful design principles of Dieter Rams are on display at SF MOMA's exhibit, 'Less and More' from August 27, 2011 - February 20, 2012.
Universally useful design principles of Dieter Rams are on display at SF MOMA's exhibit, 'Less and More' from August 27, 2011 - February 20, 2012.
Gordon England, Deputy Secretary of Defense explaining that 9/11 would have been much worse if the terrrorists could have figured how to kill more Americans.
England's 15 principles of leadership…
1)provide an environment for everyone to excel
2)Treat every person with dignity and respect
3)Be forthright, honest and direct with every person in every circumstance
4)Improve effectiveness to gain efficiency
5)Cherish your time and the time of others
6)Identify the critical problems
7)Describe complex problems simply
8)Never stop learning
9)Encourage constructive criticism
10)Surround yourself with great people and delegate to them full authority and responsibility
11)Make ethical standards more important then legal requirements
12)Strive for team based wins
13)Emphasize capability – not organization
14)Incorporate measures and metrics everywhere
15)Concentrate on core functions and outsource all others
On the left the photo displays color, the vibrant red of the raspberries and the yellow color of the mug create a focus point. On the bottom left the rock fire pit creates a a circular shape. Now the top middle shows texture, the three dimension of the moss and it’s magnification makes the object look slimy. The picture to the right of the moss shows space because while there are clouds in the sky there is nothing else, allowing for room.The bottom middle photograph shoes both grey and black vertical lines. The top right photo shows form because the cat curled up sleeping creates an oval like form. Lastly, the bottom right photo shows value because it contains both a mixture of light and dark colors that create depth.
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
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Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELI IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELI IN MAWAR AREA (JODHPUR DIVISION) Havelli Heritage, Ahore
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone. They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
WIKIPEDIA
Psychology: Its Principles and Applications
Publisher's Note:
A psychology textbook for the high school student. Includes chapters on behavior, heredity, personality, intellectual ability, learning, thinking, perception, emotions, motivation, conflict, and social interaction.
Ninth Edition
1989
Hardcover
535 pages
I won this book in an auction lot of books, its pretty nifty and I believe it once belonged to a school.
Lots of writing in this book. It's previous owner did not take the best care of it. It shows quite a bit of wear
Arches National Park Winter Snow Red Sandstone American West Fine Art Landscape Nature Photography Fuji GFX 100! Elliot McGucken 45EPIC Winter Fine Art Photography Arches National Park Utah! Fuji GFX100 & FUJIFILM FUJINON Lens
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
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"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
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All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
As automobiles became commonplace during the 1920’s, manufacturers began to use the styling of a car as a means by which to distinguish it in the marketplace. Not content with designs that kept pace with seemingly arbitrary seasonal automotive trends, a small number of coach builders and aspiring designers created car bodies that embraced artistic principles that spoke to broader design movements.
These vehicles transcended the realm of ordinary transportation to become works of art in their own right. Interpreted in both open (convertible) and closed (coupe) forms, they were never built in great numbers and appealed to connoisseurs with discerning tastes and the financial means to indulge them.
Universally useful design principles of Dieter Rams are on display at SF MOMA's exhibit, 'Less and More' from August 27, 2011 - February 20, 2012.