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This is a visual re-interpretation of Einstein's famous quote. (Quote in title from Albert Einstein - ^ Calaprice, Alice (2005), The new quotable Einstein, Princeton University Press, p. 173, ISBN 0-691-12075-7 Other versions of the quote exist.)
Cairns, ahus, stone stacking, rock balancing, inuksuk (also spelled "inukshuk") creating stacked rock temples, natural markers of beauty using the primary found object - rock, stone or pebbles, etc.
Similar to Japanese Ishidoro stone monuments, such as Gorinto, and Hokyo-into this set is in celebration of the lovely mature Cherry Tree Colonnade at the University of Washington, in a procession from the twin Art and Music buildings.
These have a commonly included feature of space, distance and time -- structures such as relationships shown marked out by the concrete grid, which brings us to the topic of human interactions. Interactions with nature, with each other, and with ourselves.
History of Happenstance -
Invited to lunch by Jill Woelf and her husband Karl during spring blooming of the University of Washington cherry tree colonnade, (which I term the Festival of Cherry Trees), I was just about to leave, walking my bike past the University of Washington's Art building I noticed some rocks laying around. Seeing nobody to notice or care, I quickly assembled them by stacking them into structures, then photographed them until the sun went down.
Before I was able to complete photographing these works, several small groups of people arrived, and treated the assemblage as an art show, except for one small child who, standing on the last large concrete block kicked all the rocks and pebbles off the top with a grin and a charge before he could be stopped. His parents apologized profusely - but I was really proud of him for doing what was natural without concern.
I believe only about 30 people saw the 15 or so original works before they were removed.
Cheers!
-Linda
Rosehill Cemetery in Chicago
graveyards.com/IL/Cook/rosehill/
5800 N. Ravenswood
Chicago, IL
An article by Stephen Walker, Jewelry Designer
Celtic Cross History and Symbolism
By Stephen Walker, copyright 1996. All rights reserved.
What is the symbolism of the Celtic Cross? is a question I am often asked. As a craftsman and jewelry designer in the Celtic tradition I bring some very ancient symbols to a contemporary audience. The answer is not as straight foreword as one might hope. The history of this powerful symbol is ambiguous. There are many variations of interpretations and legends about the original meaning that are commonly repeated even today. The Presbyterian and Catholic are often startled to learn that the other considers this symbol their own. In our modern multicultural world the ringed cross is as much a symbol of ethnic heritage as it is of faith and it is often used as an emblem of ones Irish, Scottish or Welsh identity.
If you spend much time rooting around in the history of the Celtic lands you are sure to have many explanations and historical anecdotes offered to you in forms ranging from casual explanations from individuals to historical markers, tour guide banter, grandmother’s family lore and souvenir shop hang tags. This variety of sources of information is available on many topics of history, customs, superstition and when the subject is Celtic Art I have found that the popular and casual sources of information are very generous. Conversely the academic and scholarly sources of information are very cautious to the point of being truly a disappointment if your seek confirmation of the meaning of mysterious ancient symbols.
The Irish Catholic priest will have no hesitation telling you that the circle of the Celtic Cross is a symbol of eternity that emphasizes the endlessness of God’s love as shown through Christ’s sacrifice on the cross. That is unless he says the circle is a halo. He may go on to explain that the crucifixion is important not just as an event at a certain point in time but, as the circle symbolizes, as the unending mystery of how through the crucifixion and resurrection Christ continues to offer the hope of salvation to the faithful throughout all time.
At the pub when the subject comes up you might just as likely hear the explanation that the great stone Celtic Crosses were carved from the standing stones of the Druids and were originally phallic symbols, just carved into crosses to disguise their original purpose. No proof of this theory is offered and the in-your-face delivery of this information will probably intimidate you from asking for any. The barroom iconographer will swear on the graves of all his ancestors that it is true. With the rise of interest in the occult and pagan ideas in recent years you are likely to read New Age interpretations about how the cross in the circle is a symbol of the Sun that was worshipped by the Druids and that this symbol was appropriated by the Christians. Look for these sorts of explanations on the cards that accompany jewelry and head shop bric-a-brac. Born Again Pagans are enthusiastic about Celtic designs and are successfully appropriating Christian symbols back to their supposed primal meaning. Just how much of this is fantasy and how much is based in historical fact is difficult to sort out since the academic keepers of the facts are so reluctant to discuss symbolic meaning.
There is a legend of how St. Patrick when preaching to some soon-to-be converted heathens was shown a sacred standing stone that was marked with a circle that was symbolic of the moon goddess. Patrick made the mark of a Latin cross through the circle and blessed the stone making the first Celtic Cross. This legend implies that the Saint was willing to make ideas and practices that were formerly Druid into Christian ideas and practices. This is consistent with the belief that he converted and ordained many Druids to lives as Christian priests.
These and many other stories and beliefs are the sort of folk lore history that cannot be substantiated by the academic convention of looking back into the written record for early citations or for iconographic precedence that contains enough supporting evidence of what the artist is really trying to say. What we have from the modern scholars and archeologists about Celtic art from early times are careful descriptions and comparisons. The questions the scholars attempt to answer are about dates and the migration of ideas. Which came first? Who was exposed to which prototypes? Figurative panels are often easier to interpret such as the scene of a Samson striking a Philistine with the jaw of an ass as depicted on the back of the Inchbraoch Stone. The knotwork, spirals and key patterns on the carved cross side of this 7th or 8th century Pictish monument are usually treated by scholars as a subject that can be described and classified but is rarely interpreted. When the meaning of the decorative elements are attempted the academic scholar tends to be very cautious and will often cite obscure references in ways that make their text difficult to understand.
George Bain, in 1951 in the preface his excellent book Celtic Art; the Methods of Construction wrote the following about meaning:
"After consultation with an eminent prehistorical Archaeologist, his advice to publish the meanings that the evidences suggest was accepted, with the qualification that if others could bring evidences to prove other meanings, agreement to such would benefit truth. In such a way, the art which was communicative and ornamental might regain its original communicative purpose."
That statement sounds sensible enough but it is neither followed nor preceded by more than the vaguest of hints of what the original communicative purpose might have been. Frustratingly this is just about all Bain has to say that even suggests that his subject even has any meaning. Bain’s book is a text book on how to construct Celtic Art. By following his instructions the student of Celtic Art learns a lot. By learning the creative process of construction one comes to feel a sense on knowing on a intuitive level what this is all about. In this way Bain succeeds brilliantly in communicating his message. What he writes is rather typical of the scholar who is concerned about being right in a way that can be defended with the proof of facts. If the reader expects a code book to interpret ancient symbols, Bain does not offer any convenient, quotable explanations.
It seems that most people who know about Celtic Art as part of their personal heritage have the sort of knowledge that the academic cannot cite as fact since the source is mainly oral tradition. This does not prevent common knowledge from being strongly, even passionately believed nor does it mean that it is not true. Where the scholar fears to venture writers who are more interested in satisfying fantasy views of history and mysticism have fewer qualms. The popularity of Celtic images and symbols has produced plenty of blurb cards that give the buyer of gift ware designs the sort of meaning they want to hear. The scholarship and authenticity of these statements ranges from very responsible to outright quackery. Right or wrong all this information adds to the modern folk lore of what Celtic Art means.
The Cross did not become a common symbol of Christianity until the 4th century. Images of the cross were in fact quite rare before the Golden Legend became popular and the "discovery" of the "True Cross" promoted fragments of the "True Cross" as powerful relics.
There are in Britain stone monuments that may be the ancestor of the Celtic Cross. The Chi-Rho symbol, the monogram of Christ was a commonly used symbol of Christianity in the 4th century Roman Empire. The Emperor Constantine who made Christianity the official religion of the Roman Empire used as his emblem the Chi-Rho in a laurel wreath. Thus combined were a pagan Imperial symbol of Rome with a symbol of the new faith. The diagonal cross members of the Chi were eventually conventionalized to a single horizontal cross member that made its cross with the vertical stem of the Rho and the wreath was conventionalized into a simple circle. There are examples of this where the loop of the Rho is also conventionalized into a shepherd’s crook. One can easily see how the curved crook of the staff could disappear to leave just a cross in a circle as is common in many Welsh crosses of the early Celtic Christian period which followed the Roman withdrawal from Britain.
Constantine used the Chi-Rho as a military insignia and victory symbol as well. The cross symbolizes Christ's victory. Military use of the cross as a favorite element of heraldry descends from the shields and standards of the Roman Empire.
The early circled cross stone monument as it survives in Ireland and Scotland exists in two forms, the incised slab and the free standing cross. The slab form has a cross carved in relief where the free standing cross has the stone cut away so that the shape of the ringed cross is carved in the round. In both types there are examples that range from crude and primitive to the very ornately decorated. In many cases the most highly decorated have carving on all the surfaces, even the edges of the ring and ends of the arms.
The carvings fall into several categories, with several or all of these present on any example. Human figures representing Biblical stories or the crucifixion offer the most obvious meaning. Endless knotwork, spirals, meanders and "key patterns" and zoomorphic animal patterns make up the majority of early cross carving subjects. These are the same elements that are used in much the same way in metalwork and in Gospel illumination. The term insular is used to describe this style. There are many regional variations. The Iona group crosses are distinctive in their shape. Many of the Irish High crosses of the 10th century are capped with a pitched roof or "house cap" that are similar to reliquaries made to resemble a Celtic oratory.
The stone monuments can be attributed to specific places since they rarely were moved more than short distances. Metalwork and books were portable and their places of creation are therefore more difficult to know. The surviving manuscripts were carefully cared for over the centuries. Stones from this period are usually very weathered and the best preserved examples were often buried or sheltered for many of the years since their creation and thus were spared some of the damage an wear of the centuries. The metalwork that survives from those time was likewise buried and discovered in modern times. What may have been carved in wood, ivory or embroidered has been lost to us. Surviving work from earlier than the 10th century in those materials are extremely rare. St. Adomnán writing in the 7th century reports that there were several hundred wooden crosses on Iona, but none survive today. Materials and available craft skills influence design. Often design innovations that take advantage of one material’s nature are then transferred to another material. The hemispherical bosses carved on the more elaborate stone crosses were stylistically imitating the metalwork of the time. The semicircular arm pits that narrow at the center of many crosses are a graceful design innovation that may have evolved from notches carved in simpler wooden crosses that were lashed together at the center. These notches would be an impractical weak point in a free standing stone were it not for the structural support of the ring.
The term insular is used to take into account the possibility that an object found in Scotland may well have been made in Ireland. There was no political, religious or ethnic unity in the several centuries known as the Dark Ages, after the Romans withdrew from Britain. The artistic styles that emerged were the combined heritages and innovations of several cultures. The Angles and Saxons contributed the animal motifs to this mix and adopted many of the Celtic elements most notably in Northumbria where the Lindisfarne Gospels were most likely produced in the 9th century. Thus the style is also often called Hiberno-Saxon. The period from the 7th to the 9th century when this style reached its greatest development was a time when the Celtic Church was at its greatest influence. These styles were exported with missionaries to Northern Europe. The term insular is also a diplomatic term as it avoids the ethnic associations that are likely to offend national pride. The heritage of these motifs is part of the self image of the modern Scots, Irish and Welsh. Labeling a style as Celtic, Pictish, Irish or Hiberno-Saxon places credit for these styles and motifs where another group may feel their claim slighted. An English scholar arguing that Northumbrian prototypes influenced the Pictish or Iona schools of design risks claims that he is yet another Sassunsach that is unwilling to give the Celtic people full credit for their accomplishments. On the other hand the Celtic nationalists are going to want to see their people as the true geniuses. In it's day the insular style was an international style.
The monumental stone crosses by the nature of their size and material still stand in many cases where they were placed 12 centuries ago. These often served as prototypes for newer monuments down through the ages into modern times. Styles and decorative motifs changed with time. During the middle ages foliage designs, often referred to now as Tree of Life designs became increasingly common. In old Irish or Scottish church yards most of the stone crosses are relatively modern. Some of the stone crosses even back to some of the earliest ones have inscriptions that dedicate them to the memory of certain individuals. While many of these were not specifically grave markers, some quite likely were and in this way the purpose of the monumental stone Celtic Cross has remained constant since the beginning.
What these crosses mean to us today and what they meant when Christianity was new to Celtic Britain and Ireland are in some ways the same and in some ways different. The cross either vertical or diagonal with equal length arms is a universal mark. It is so primal that it exists in all cultures as does the circle. There are no human cultures that have no art or symbols and there are no systems of symbols that do not include circles and crosses. These marks are opposites. The circle contains and is unending while the cross both reaches out and marks a specific, finite point at the center. Contemplation of this yields many possibilities and in this way temps the designer or the viewer to find personal meanings besides the traditional ones. A plain circle is often a symbol for the moon and a circle with a cross within or the arms of a cross without are universal symbols for the sun. The swastika is a related sun symbol. The Druids did indeed worship the sun and moon. These were important symbols to them. The cross by itself relates to other ideas. The four directions or the four corners of the Earth, the vertical and the horizontal coming together imply the joining of forces such as Heaven and Earth. Just as since the swastika became associated with the Nazis and became a symbol for anti-Semitism and hate the strength of that association supersedes its older meaning. The cross likewise when it became the predominate symbol of Christianity is no longer thought of by most people as a symbol for anything else. The older meanings do not entirely vanish. They are waiting to be rediscovered.
It is my opinion that the story of St. Patrick making the cross over the circular pagan symbol is in itself symbolic of the way things really happened. Celtic Christianity used symbols and ideas that were familiar to the Druids to bring them to Christ. The Celtic monks of the early Church practiced a simple life, close to nature that found joy in the love of God’s creation. This was what the Druids already sought in their worship of nature so the missionaries were able to build on what they already had in common with the Druids to convert them to Christianity.
That the cross within a circle also evolved from the Chi-Rho coincides with the emergence of the cross as a symbol throughout Christendom at a time when the Gospel was being delivered to a sun worshipping culture presents just the kind of multiple choice mystery that is characteristic of Celtic history. Which of these three possibilities are true? They all are.
The Celtic Cross is visually a very appealing shape. Unlike the crucifixes of Southern Europe that display Christ’s suffering the Celtic Cross, be it plain or highly ornamental is made to be visually beautiful. When human figures appear on the cross they are usually quite simple in contrast to highly complex and sophisticated ornamental patterns that complete the design. When the body of Christ is depicted in crucifixion it is usually robed in colobium along the Byzantine model and the overall effect is less about pain than it is about beauty. The Roman model of the corpus semi-naked in only a loin cloth occurs also but less frequently on early crosses and even then it is usually part of a larger ornamental program. On several crosses, notably the Cross of Muiredach at Monasterboice and the Cross of the Scriptures at Clonmanois, both in Ireland Christ is enthroned in Glory at the center of the cross.
If the Celtic Cross borrowed a pagan sun symbol, just as the Chi-Rho borrowed the pagan imperial laurel wreath, applying these to a Christian symbol were expressions of honor and reverence that should be seen in the context of the cultures that brought them forth. There are Christians who unfortunately see these vestiges of paganism as unholy. They ought to be regarded as the reverent tributes they were as these great cultures accepted the Gospels. The Celtic Crosses made at Iona and elsewhere from the 6th century onwards were made by Christians for the Glory of God. Like much of what they did and believed, their pagan heritage influenced their art. The early Christians certainly were erecting neither phallic symbols nor pagan monuments in their own minds when they carved these splendid creations.
The circle on the ringed crosses have been explained as a symbol of eternity as long as anyone can remember. It has meant that as long as the ringed cross has had meaning as a Celtic Christian symbol. But this is only the most common of several meanings.
(c) copyright Stephen Walker April 17, 1996 All rights reserved
Stand back for the Pink Powder Puff or Calliandra Tweedii.
This is untouched by human hands and SOOC which is very lucky because Isaac Asimov once said
"Part of the inhumanity of the computer is that, once it is competently programmed and working smoothly, it is completely honest."
It was only when I looked at it on the BIG screen, that I fell in love with the explosion of little dots.
Shot at f32 ISO 160 with Canon 100mm macro using natural light on RHS
Press L for the Explosion and F for Flower.
Quotable Quotes Theme
Dots Challenge
Passion makes the world go round. Love just makes it a safer place. ~Ice T, The Ice Opinion, quoted in Reader's Digest, "Quotable Quotes," February 2002
If you don't know, I'm surprised you haven't removed me from your contacts already!
Possibly the best line in one of the most quotable movies of all time.
Prop commentary: I didn't have Meister Brau, or beer in a can. So, Heineken in the bottle had to do.
For FGR's Bringing Sexy Back challenge.
I pass Harry Lawson trucks on a regular basis on my travels, this beauty was parked at Seaton flats as I made my way down to Aberdeen Harbour,the driver agreed to me taking some photos, and had a chat about the company and what they do, a fine fellow indeed.
Harry Lawson Ltd. commenced operation in 1945 when the founders, Harry Lawson and his wife Dora, purchased a one vehicle business operating a daily carrier service between Dundee and Carnoustie. Their son Harry joined the company in 1961, at which time the fleet had increased to 12 vehicles. Harry continued to develop the business, taking over as Chief Executive in 1976 with Harry senior retiring by the end of the 70s. With marked determination to offer an efficient, high quality service and reliable road transport solutions, Harry soon built up an extensive portfolio of customers, including a number of blue chip accounts.
Despite now operating throughout the UK it was, however, the Company’s strong links with local enterprises which proved to be the catalyst in the Company’s move into tanker haulage. This niche was developed as Harry foresaw that the business would benefit from having a clear focus or speciality in the transport sector and whilst the business continues to operate both tanker haulage and general haulage, it is perhaps the tanker haulage sector for which it is best now known.
Harry Lawson Ltd., remains a family owned business operating from its base in Broughty Ferry and is now entering the third generation with Michael, Harry’s son, having joined in 2004. Today’s fleet comprises around 70 trucks and 150 trailers and the Company continues to take great pride in the presentation and cleanliness of its vehicles and the instantly recognisable two tone green livery is sure to be a familiar sight to many collectors and truck enthusiasts alike.
Harry Lawson Ltd. is a well established family transport business based in Broughty Ferry in the North East of Scotland,they have been in the general transport business for more than 70 years.
Specialising in providing bulk liquid, powder and general haulage transport services throughout the UK to a wide customer base in a range of markets.
Volvo FH series
Overview
ManufacturerVolvo Trucks
Production1993–present
AssemblyGothenburg, Sweden
Ghent, Belgium
Body and chassis
ClassHeavy truck
Body style COE
Day cab
Sleeper cab
Globetrotter High cab
Powertrain
Engine
Inline 6 turbodiesel intercooled
Volvo
D12A(12.1 L) 420 309kw 1993–1998
D12C (12.1 L) 420 309kw, 460 340kw 1998–2001
D12D (12.1 L) 420 309kw. 460 340kw 2001–2005
D12F (12,1 L) 420 309kw, 460 340kw 2004–2006 EGR
D13A,B,C(12.7 L)2005–present
D13K (12.9 L) 2012-present (Euro VI)
D16A,B(16.1 L)1993–2001
D16C,E,G(16.1 L)2006–present
Cummins
ISX600(14.91 L)1998–2006 (Australia)
Transmission
14 speed synchro manual
SR1900 (1993–1998)
SR(O)2400 (1993–1998)
VT2514(OD) (1998–present)
VT2814(OD) (2006–present)
VT(O)2214B (2012-present)
VT(O)2514B (2012-present)
VT(O)2814B (2012-present)
16 speed synchro manual (ZF)
ZT1816
12 speed semi-automatic (I-Shift)
V2512AT (2007–present)
V(O)2812AT (2007–present)
VO3112AT (2008–present)
AT2412D (2012-present)
AT(O)2612D (2012-present)
AT2812D (2012-present)
ATO3112D (2012-present)
ATO3512D (2012-present)
6 speed automatic (Powertronic)
VT1706PT
VT1906PT
Chronology
PredecessorF series
The Volvo FH is a heavy truck range produced by Swedish truck manufacturer Volvo Trucks. Introduced in late 1993 as FH12 and FH16, production still continues with the now the second generation of FH range model lineup.
FH stands for Forward control High entry, where numbers denominate engine capacity in litres. The FH range is one of the most successful truck series ever having sold more than 400,000 units worldwide.[1]
In September, 2012, Volvo Trucks re-launched the Volvo FH with significant technology upgrades
The new Volvo FH (2012–present)
The 2012 model of Volvo FH.
In September 2012, Volvo Trucks re-launched the Volvo FH with major technology upgrades, a new design and more.
The company also introduced the first of its Euro VI engines, the D13K which is available as an option on the new Volvo FH and compulsory for new trucks in Europe from January 2014. Other quotable new features is the I-torque driveline and the I-see fuel saving technology. With the new thirteen-litre engine, the name has changed to FH13.
AEB
Volvo Trucks have demonstrated the new AEB system for their FH series on YouTube. The truck did well and stopped only centimeters from the car ahead. The tractor trailer was fully loaded to 40 tons GCW when Volvo demonstrated the system.
The AEB system combines a radar and a camera that work together to identify and monitor vehicles in front. The system is designed to deal with both stationary and moving vehicles and can prevent a collision with a moving target at relative speeds of up to 70 km/h.
When the system detects a vehicle that the truck will hit at its current speed, the warning system activates a constant red light in the windscreen in order to bring the driver's attention back to the road.
Inspiring collection of quotation from famous people.
It is free to share or download image quotes about inspirational quotable quotes .
Below are some of the best quotes we list for you :
I’m talking about inspirational quotes written on posters “Know yourself; know your worth,” said...
"if it weren't for the rocks in its bed, the stream would have no song." ~carl perkins
most of the time when i climb mount wrightson, i go up and down the same way - not very close to any water. this time, i went a different way, and ended up hearing that wonderful stream song.
it might be better on black.
By Bambam-Collective: Marc Hennes, Berta Mattern, Joe Villion,
Marek Kochanowicz, Mariya Sulymenko, Benedikt Rugar,
Pia Zölzer, Lena Schrieb, Ellen Wagner.
17,5 x 24,5 cm / Edition of 100 /
cover: laserprint / 44 Pages: riso print / 12 €.
~ African Proverb
Happy weekend everyone... One of my best friends is in town (She lives in LA right now) and we are getting together with another one of our best friends and seeing "Alice in Wonderland".... in 3D of course... :D
Any of you doing anything fun this weekend?
If you have the time, feel free to ask me anything
Explore #360 December 12, 2009... Thank you everyone :)
He that loves a rosy cheek,
Or a coral lip admires,
Or from star-like eyes doth seek
Fuel to maintain his fires:
As old Time makes these decay,
So his flames must waste away.
But a smooth and steadfast mind,
Gentle thoughts, and calm desires,
Hearts with equal love combined,
Kindle never-dying fires:
Where these are not, I despise
Lovely cheeks or lips or eyes.
- Thomas Carew
Old School Cut & Paste (Scissors & Glue) collage created for the weekly themed blog:
The Kollage Kit
This week the theme is MULTIPLE IMAGES.
Alice Roosevelt, daughter of President Theodore Roosevelt, sat for a portrait when she lived in the White House.
Did you know the Teddy Bear was invented in honor of President "Teddy" Roosevelt?
www.nps.gov/thrb/historyculture/storyofteddybear.htm
Of her quotable quotations, her most famous found its way to a pillow on her settee. It is the title of this collage.
A magical evening of foment and ferment last night at Craig Venter’s house in La Jolla (with a helical staircase in the nucleus).
Bill asked the most astute and detailed questions about microbiology. Got the body rock going.
BillG Quotable: “DNA is the most interesting software there is.”
A nice guy who finished first-many times. A tough competitor. An overcomer. Purveyor of quotable quotes. There will NEVER be another Yogi. Feel free to add any yogiisms you know.
One of my favourites is, "Nobody goes there anymore. It's too crowded." Rest in peace, Yogi.
A new tollway and express busway has been under construction for the last couple of years in Brisbane. It is now very close to officially opening, and is located close to the northern end of the city centre.
In this section, there are junctions and fly overs going all over the place, and coloured pillars have been installed.
Here, it is part of a big circular road, and I think that building at the back is a chimney to exhaust the fumes from the tunnel.
Architecture challenge
There is a broader shot below, which includes some ugly bits you would expect in a place like th\is.
Actually for this main shot, I had to cross many traffic lanes, when the cars were stopped and squeeze through the barriers onto the landscaped area not yet opened to the public, so that I could get a "clean" shot.
Quotable Quotes Theme
The pillars of truth and the pillars of freedom - they are the pillars of society.
Henrik Ibsen
To myself I am only a child playing on the beach, while vast oceans of truth lie undiscovered before me. - Isaac Newton
Blues Point Reserve, Sydney, Australia (Friday 31 December 2010 @ 3:52pm).
- Clint Eastwood
Pentax K1000 / Vivitar 50mm f/1.7 / Fujicolor 400
Green District / Douglas County / Oregon
“fairy Solaris” …. created to represent the “totality” that occurs during a total eclipse of the sun.
(best viewed on black ...... well there's a suprise LOL)
On the 11th of August 1999 …..I stood on hill ,on the southern edge of Dartmoor ,south west England and looked up at a sun that was pitch as black!!…............................. on that day I experienced a single moment in time and space where (and when)
….....................NOTHING I HAD EVER HEARD
…..................... NOTHING I HAD EVER SEEN,
…......................NO EXPERIENCE I’D HAD.
….................... NONE OF MY KNOWLEDGE
…......................NOT EVEN LIFE ITSELF
…......................MEANT ANYTHING !
…......................MY EXISTENCE - THAT OF STARDUST
…......................MY AWARENESS - ELEMENTAL
….....................THE SUBCONSCIOUS - COLLECTIVE & at a SUB- ATOMIC LEVEL
why am i bothering......I cant explain , words are useless
….and no ability you have to empathise , sympathize or imagine will help you to FEEL IT …... and no level of intellect or understanding can help you to SEE IT .
Still I searched for a quote to quote the un-quotable .... this one doesn't even come close, but it came closest .:-)
solar eclipse of 30 April 463 BC, Thebes.
"Beam of the Sun! O thou that seest from afar, what wilt thou be devising? O mother of mine eyes! O star supreme, reft from us in the daytime! Why has thou perplexed the power of man and the way of wisdom by rushing forth on a darksome track? Art thou bringing a sign of some war, or wasting of produce, or an unspeakably violent snow-storm, or fatal faction, or again, some overflowing of the sea on the plain, or frost to bind the earth, or heat of the south wind streaming with raging rain? Or wilt thou, by deluging the land, cause the race of men to begin anew? I in no wise lament whate'er I shall suffer with the rest!"
Pinder (Greek poet) Ninth Paean, addressed to the Thebans.
here’s a link to a site that shows you where and when
for anyone wishing to “know”
www.earthview.com/timetable/futureTSE.htm
love maxxxi
* WHAT CAN'T BE EXPRESSED … MUST BE EXPERIENCED *
I walked along to Torry Battery from the docks today,I met a fellow photographer who gets paid to take photos, lucky guy , he had been booked for a Photoshoot of Colin Lawson Transport's Volvo FH for an upcoming advertising event .
Volvo FH
The Volvo FH is a heavy truck range produced by Swedish truck manufacturer Volvo Trucks. Introduced in late 1993 as FH12 and FH16, production still continues with the now the second generation of FH range model lineup.
FH stands for Forward control High entry, where numbers denominate engine capacity in litres. The FH range is one of the most successful truck series ever having sold more than 400,000 units worldwide.
In September 2012, Volvo Trucks re-launched the Volvo FH with major technology upgrades, a new design and more.[2] The company also introduced the first of its Euro VI engines, the D13K[22] which is available as an option on the new Volvo FH and compulsory for new trucks in Europe from January 2014.
Other quotable new features is the I-torque driveline and the I-see fuel saving technology. With the new thirteen-litre engine, the name has changed to FH13.
AEB
Volvo Trucks have demonstrated the new AEB system for their FH series on YouTube. The truck did well and stopped only centimeters from the car ahead. The tractor trailer was fully loaded to 40 tons GCW when Volvo demonstrated the system.
The AEB system combines a radar and a camera that work together to identify and monitor vehicles in front. The system is designed to deal with both stationary and moving vehicles and can prevent a collision with a moving target at relative speeds of up to 70 km/h. When the system detects a vehicle that the truck will hit at its current speed, the warning system activates a constant red light in the windscreen in order to bring the driver's attention back to the road.
I pass Harry Lawson trucks on a regular basis on my travels, this beauty was parked at Seaton flats as I made my way down to Aberdeen Harbour,the driver agreed to me taking some photos, and had a chat about the company and what they do, a fine fellow indeed.
Harry Lawson Ltd. commenced operation in 1945 when the founders, Harry Lawson and his wife Dora, purchased a one vehicle business operating a daily carrier service between Dundee and Carnoustie. Their son Harry joined the company in 1961, at which time the fleet had increased to 12 vehicles. Harry continued to develop the business, taking over as Chief Executive in 1976 with Harry senior retiring by the end of the 70s. With marked determination to offer an efficient, high quality service and reliable road transport solutions, Harry soon built up an extensive portfolio of customers, including a number of blue chip accounts.
Despite now operating throughout the UK it was, however, the Company’s strong links with local enterprises which proved to be the catalyst in the Company’s move into tanker haulage. This niche was developed as Harry foresaw that the business would benefit from having a clear focus or speciality in the transport sector and whilst the business continues to operate both tanker haulage and general haulage, it is perhaps the tanker haulage sector for which it is best now known.
Harry Lawson Ltd., remains a family owned business operating from its base in Broughty Ferry and is now entering the third generation with Michael, Harry’s son, having joined in 2004. Today’s fleet comprises around 70 trucks and 150 trailers and the Company continues to take great pride in the presentation and cleanliness of its vehicles and the instantly recognisable two tone green livery is sure to be a familiar sight to many collectors and truck enthusiasts alike.
Harry Lawson Ltd. is a well established family transport business based in Broughty Ferry in the North East of Scotland,they have been in the general transport business for more than 70 years.
Specialising in providing bulk liquid, powder and general haulage transport services throughout the UK to a wide customer base in a range of markets.
Volvo FH series
Overview
ManufacturerVolvo Trucks
Production1993–present
AssemblyGothenburg, Sweden
Ghent, Belgium
Body and chassis
ClassHeavy truck
Body style COE
Day cab
Sleeper cab
Globetrotter High cab
Powertrain
Engine
Inline 6 turbodiesel intercooled
Volvo
D12A(12.1 L) 420 309kw 1993–1998
D12C (12.1 L) 420 309kw, 460 340kw 1998–2001
D12D (12.1 L) 420 309kw. 460 340kw 2001–2005
D12F (12,1 L) 420 309kw, 460 340kw 2004–2006 EGR
D13A,B,C(12.7 L)2005–present
D13K (12.9 L) 2012-present (Euro VI)
D16A,B(16.1 L)1993–2001
D16C,E,G(16.1 L)2006–present
Cummins
ISX600(14.91 L)1998–2006 (Australia)
Transmission
14 speed synchro manual
SR1900 (1993–1998)
SR(O)2400 (1993–1998)
VT2514(OD) (1998–present)
VT2814(OD) (2006–present)
VT(O)2214B (2012-present)
VT(O)2514B (2012-present)
VT(O)2814B (2012-present)
16 speed synchro manual (ZF)
ZT1816
12 speed semi-automatic (I-Shift)
V2512AT (2007–present)
V(O)2812AT (2007–present)
VO3112AT (2008–present)
AT2412D (2012-present)
AT(O)2612D (2012-present)
AT2812D (2012-present)
ATO3112D (2012-present)
ATO3512D (2012-present)
6 speed automatic (Powertronic)
VT1706PT
VT1906PT
Chronology
PredecessorF series
The Volvo FH is a heavy truck range produced by Swedish truck manufacturer Volvo Trucks. Introduced in late 1993 as FH12 and FH16, production still continues with the now the second generation of FH range model lineup.
FH stands for Forward control High entry, where numbers denominate engine capacity in litres. The FH range is one of the most successful truck series ever having sold more than 400,000 units worldwide.[1]
In September, 2012, Volvo Trucks re-launched the Volvo FH with significant technology upgrades
The new Volvo FH (2012–present)
The 2012 model of Volvo FH.
In September 2012, Volvo Trucks re-launched the Volvo FH with major technology upgrades, a new design and more.
The company also introduced the first of its Euro VI engines, the D13K which is available as an option on the new Volvo FH and compulsory for new trucks in Europe from January 2014. Other quotable new features is the I-torque driveline and the I-see fuel saving technology. With the new thirteen-litre engine, the name has changed to FH13.
AEB
Volvo Trucks have demonstrated the new AEB system for their FH series on YouTube. The truck did well and stopped only centimeters from the car ahead. The tractor trailer was fully loaded to 40 tons GCW when Volvo demonstrated the system.
The AEB system combines a radar and a camera that work together to identify and monitor vehicles in front. The system is designed to deal with both stationary and moving vehicles and can prevent a collision with a moving target at relative speeds of up to 70 km/h.
When the system detects a vehicle that the truck will hit at its current speed, the warning system activates a constant red light in the windscreen in order to bring the driver's attention back to the road.
Freightliner's 66534 'OOCL Express' about to pass under the Bishopstoke Road bridge at Eastleigh with a mixed rake of empty intermodal flats.
I'm sure this is by no means the first or last time that this loco has hauled a container working of fresh air but the irony of a locomotive named after one of the world's largest container shipping companys hauling not one single TEU container was worth noting.
Founded in the far east in 1947 OOCL was already a formidable shipping and logistics player when in 2018 the parent company was taken over in a $6.3 billion dollar deal by Shanghai-based competitor COSCO Shipping. COSCO as currently the world's fourth largest maritime transport business with approximately 11% of the market.
66523, with it's distinctive red nameplates was named OOCL Express in November 2001 to commemorate a long term trade relationship between the company and Freightliner.
The quote used in the title caption is of course from the brilliantly funny BBC television series Blackadder, specifically Blackadder the Third, episode five "Amy and Amiability" and involves an exchange between Edmund Blackadder (Rowan Atkinson) and his dimwitted 'dogsbody' Baldrick (Tony Robinson);
Blackadder: "Baldrick, do you have any idea what irony is"?
Baldrick: "Yeah. It's like gold-y and bronze-y, only it's made of iron".
Our eternal thanks to writers Richard Curtis and Ben Elton for these and so many other killer quotable lines in this much loved comedy series.
~ Spanish Proverb
So Cory and I made a TON of these Cheerio Bars and then I wrapped them in wax paper and wrapped ribbon around them for a bit of extra flare. Cory took them to the office and they were gone in a flash.
They are DELICIOUS.
Here's what you need:
6 cups of Cheerios
1 bag of marshmallows
1 cup of dried cranberries (that's what the recipe calls for anyways, but I always add a bit extra. You can also substitute the dried cranberries for any other dried fruit)
1/2 a stick of unsalted butter
Combine the Cheerios and dried fruit in a greased 13" x 9" pan.
Melt the butter in a pan on medium high heat and once melted add the marshmallows.
Once the marshmallows are melted take it off the heat and poor it on top of the cheerio and dried fruit mixture. Stir it up so everything is coated with marshmallow and then press the mixture down into the pan so the top is even (I usually spray my hands with some pam and use them to handle the mixture).
Let harden for about 2 hrs. Then you can cut out perfect squares of deliciousness :)
Fabulous collection of quotation from famous people.
You can download for free these quotes about motivational funny quotes for you .
Below are some unique quote you can read :
Certainly one of the most quotable athletes in recent memory, the Sifter reflects on the musings of Mike Tyson....
Our Daily Challenge 6-12 August : Quotable Quotes
"Do what you can, with what you have, where you are".
~Teddy Roosevelt
Two neon green, hand-painted signs, attached to a black metal fence, advertising "FAJITAS DE POLLO $2.99/LB" and "CAMARON MEDIANO $3.99/LB," against a background of blue sky and some wispy clouds.
Included in feature on hand-painted signs from WBEZ Curious City: interactive.wbez.org/curiouscity/produce-signs/?_ga=1.211...
Stitched as part of a new thermal insulator (i.e. hot pad!) for the kitchen, to celebrate Carl Sagan Day on 9 November. Central motif is the Rutherford-Bohr model of a lithium atom, with the electrons represented by half-apples and the nucleus by a whole apple. The quote is one of (the very quotable) Sagan's more famous, from his Cosmos series: "if you wish to make an apple pie from scratch, you must first invent the universe." Apropos of the kitchen, no?
More straight-on shot to illustrate design here. Pattern here.
"Do what you can, with what you have, where you are".
~Teddy Roosevelt
Our Daily Challenge:
5 QUOTABLE QUOTES is the topic for Saturday, August 6, 2022
Yesterday evening I surf fished Torrey Pines State Beach once again this summer. I caught a 20 inch leopard shark which I released,,, got very wet... had my veggie sandwich for dinner... saw another landslide while not huge as seen before it was large enough to kill... warned parents to keep their kids playing on the rocks at the face of the cliff to have them stay clear (later down pass the landslide the same kids were playing against the cliff).
I also warned a young woman about the stingrays around her in the water and to do the 'stingray shuffle' which I do while fishing in the surf.
Later while watering down my pole, reel, trunks, and silk Hawaiian shirt I watched a lifeguard attend to a young woman who was stung in the foot by a stingray... soaking the foot in hot water. She was finally feeling better.
*I did what I could to create this photograph by standing on a rail of the fence next to my truck. I was putting my fishing stuff away when it suddenly came by!
our gender neutral 'codpiece-free' Tudorbethan ensembles from ChaCha's 'Neutrato'©, de-emphasise the groin, range'.
The ever-quotable ChaCha raved this morning, "Think totally innocent crotchless underwear, think 'kind castrato', think Lanech. If our 2024 collection doesn't give you a chubby", he continued, "then nothing will!"
Once more towards that star, ChaCha!
100% silk, with Irish Virgin-Linen crotchless knickers and 'wife/husband-beater'.
“An Essay on Criticism,” by Alexander Pope.
Introduction
Alexander Pope, a translator, poet, wit, amateur landscape gardener, and satirist, was born in London in 1688. He contracted tuberculosis of the bone when he was young, which disfigured his spine and purportedly only allowed him to grow to 4 feet, 6 inches. Pope grew up on his father’s property at Binfield in Windsor Forest, where he read avidly and gained an appreciation for the natural world. Though he remained in ill health throughout his life, he was able to support himself as a translator and writer. As a Catholic at that time in Britain, he was ineligible for patronage, public office, or a position at a university.
A sharp-penned satirist of public figures and their behavior, Pope had his supporters and detractors. He was friends with Jonathan Swift, Dr. John Arbuthnot, and John Gay. Pope’s poems include the “Epistle to Dr. Arbuthnot” and the mock epic “The Rape of the Lock.” To read his work is to be exposed to the order and wit of the 18th century poetry that preceded the Romantic poets. Pope primarily used the heroic couplet, and his lines are immensely quotable; from “An Essay on Criticism” come famous phrases such as “To err is human; to forgive, divine,” “A little learning is a dang’rous thing,” and “For fools rush in where angels fear to tread.”
After 1718 Pope lived on his five-acre property at Twickenham by the Thames. He cultivated a much-visited garden that contained a grotto, and featured the formal characteristics of a French garden and the newer more natural “English” landscape style.
Pope wrote “An Essay on Criticism” when he was 23; he was influenced by Quintillian, Aristotle, Horace’s Ars Poetica, and Nicolas Boileau’s L’Art Poëtique. Written in heroic couplets, the tone is straight-forward and conversational. It is a discussion of what good critics should do; however, in reading it one gleans much wisdom on the qualities poets should strive for in their own work. In Part I of “An Essay on Criticism,” Pope notes the lack of “true taste” in critics, stating: “’Tis with our judgments as our watches, none / Go just alike, yet each believes his own.” Pope advocates knowing one’s own artistic limits: “Launch not beyond your depth, but be discreet, / And mark that point where sense and dullness meet.” He stresses the order in nature and the value of the work of the “Ancients” of Greece, but also states that not all good work can be explained by rules: “Some beauties yet, no precepts can declare, / For there’s a happiness as well as care.”
In Part II, Pope lists the mistakes that critics make, as well as the defects in poems that some critics short-sightedly praise. He advocates looking at a whole piece of work, instead of being swayed by some of its showier or faulty parts: “As men of breeding, sometimes men of wit, / T’ avoid great errors, must the less commit.” He advises against too much ornamentation in writing, and against fancy style that communicates little of merit. In his description of versification, his lines enact the effects of clumsy writing: “And ten low words oft creep in one dull line,” and “A needless Alexandrine ends the song, / That, like a wounded snake, drags its slow length along.” In Part III, Pope discusses what critics should do, holding up the “Ancients” as models, including Aristotle (the “Stagirite”) who was respected by the lawless poets: “Poets, a race long unconfin’d and free, / Still fond and proud of savage liberty, / Receiv’d his laws; and stood convinc’d ‘twas fit, / Who conquer’d nature, should preside o’er wit.”
We're Here is visiting Quotably Suitable for Framing.
Lighting: YN 560-III at 1/32 power with a grid spot, right to the left from the camera. Triggered with a Yongnuo RF trigger.
This is a sketch of Anil Dash talking about blogging.
Some sketch-notes I took at the Meshforum conference in San Francisco. Please apply notes and tags liberally. Comments too!
I heart metadata!
Here are the two best prayers I know: Help me, help me, help me and Thank you, thank you, thank you." ~ Anne Lamott
“The camera is an instrument that teaches people how to see without a camera.”
― Dorothea Lange
"7 Days of Shooting" "Week #10 - Quotable Quotes " "Shoot Anything Saturday"
So good I am reposting for 2014
Full quote:
May your coming year be filled with magic and dreams and good madness. I hope you read some fine books and kiss someone who thinks you’re wonderful, and don’t forget to make some art — write or draw or build or sing or live as only you can. May your coming year be a wonderful thing in which you dream both dangerously and outrageously.
I hope that you will make something that didn’t exist before you made it, that you will be loved and you will be liked and you will have people to love and to like in return. And most importantly, because I think there should be more kindness and more wisdom in the world right now — I hope that you will, when you need to, be wise and that you will always be kind. And I hope that somewhere in the next year you surprise yourself. ~ Neil Gaiman
Raleigh, NC (Wake County)
The Capitol Area Historic District includes this central square, the surrounding structures - churches on each corner and government offices facing the capitol - and streets extending to the east and west. These streets include a number of distinguished and representative domestic buildings and churches. No commercial buildings are represented. Though the buildings represent a plethora of styles and periods, there is a persistent, identifiable continuity with few intrusions (except for gap sites created by large parking areas). The boundaries of the district roughly correspond to the locally designated historic district. (1)
The square itself became a landscape of commemoration for noble deeds, sacrifices, achievements, sayings, and official sentiments of the state. A third of the memorials pay tribute to individual and events of the Civil War. The largest and earliest of these, a Confederate monument erected in 1894, features a tall stone shaft on an elaborate base, with two statues, decorations, and inscriptions, and cannon placed at Fort Caswell during the War. Other Civil lvar monuments include Gutzon Borglum's statue of Henry Lawwon Wyatt of Bethel, North Carolina, said to have been the first soldier to die in battle; sculptor Augustus Lukeman's sentimental tribute to the women of the Confederacy (1914); a plaque honoring Samuel A'Court Ashe (1840-1938), last surviving commissioned officer of the Confederate States Army and noted editor.
The non-Civil War monuments include a mid-nineteenth century copy of Houdon's statue of Washington; F. H. Packer's statue of Worth Bagley, first American killed in action in the Spanish-American War; statues of Zebulon B. Vance (by H. J. Ellicot) and Charles Aycock, each flanked by tablets of bas reliefs by Borglum and quotable quotations; statue of noted educator Charles Duncan Mciver (1806-1906) by Ruchstuhl; and a large tableau (1948) of the three presidents of the United States claimed by North Carolina: James K. Polk, Andrew Jackson, and Andrew Johnson. (1)
References (1) NRHP Nomination Form files.nc.gov/ncdcr/nr/WA0053.pdf