View allAll Photos Tagged relatable
Pete Yorn and Scarlett Johansson - "Relator"
When I met you I didn't know what to do
but I noticed that I didn't really feel
Now you're away you write home everyday
I don't beg, I don't borrow, I steal
You don't think that life's for us to talk about
You can leave whenever you want out... you want out...
You don't relate to me, no girl
You don't respect to me, no girl
------------------------------------------------------
Cuando te conocí no supe qué hacer
pero me dí cuenta que realmente no sentía
Ahora que estás lejos escribes a casa cada día
No mendigo, no pido prestado, robo
Tú no crees que nuestra vida sea para hablar de ello
Puedes omitirlo cuando quieras
cuando quieras...
Bueno no sintonizas conmigo, no chica
No me respetas, no chica
I can only relate to this beautiful song.
www.youtube.com/watch?v=LF5GZuO9Krg
Shot this at Shravanabelogola.
When you are happy you feel like jumping in the air, no matter where you are, whether on top of hill or on the streets. Thanks to these three idiots for making this shot so beautiful :)
Photo credit: UNDP Bangladesh
Relates to UNDP-supported GEF-LDCF funded ICBA-AR Project www.bd.undp.org/content/bangladesh/en/home/projects/integ...
Image from 'Historical Collections of the State of New York ... relating to its history and antiquities, with geographical descriptions of every township in the State', 000194809
Author: BARBER, John Warner and HOWE (Henry)
Page: 62
Year: 1846
Place: New-York
Publisher: S. Tuttle
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
If anyone has any information relating to this society, I’d be grateful to hear from you. Googled it but drew a blank, nothing at all about the Ship Model Society.
Enamels: 2 (dark green & light green).
Finish: Gilt.
Material: Brass.
Fixer: Pin.
Size: 1” x 1 3/32” (25mm x 28mm).
Process: Die stamped.
Imprint: No maker’s name or mark.
Sad Love Quotes :
QUOTATION – Image :
Quotes Of the day – Life Quote
ExtraMadness – Inspiring & Relatable Quotes
Sharing is Caring
- #Love
quotestime.net/sad-love-quotes-extramadness-inspiring-rel...
anime.saqibsomal.com/2016/02/26/anime/fairy-tail-draws-pi... -http://anime.saqibsomal.com/2016/02/26/anime/fairy-tail-draws-pictures-relating-to-san-valentin/537 - anime.saqibsomal.com/wp-content/uploads/2016/02/fairy-tai...
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
British postcard by K LTD. Photo: Hana, London. In 1902 Robey created the character The Prehistoric Man. He dressed as a caveman and spoke of modern political issues, often complaining about the government "slapping another pound of rock on his taxes". The character was received favourably by audiences, who found it easy to relate to his topical observations. That year he released The Prehistoric Man on a shellac disc using the early acoustic recording process.
George Robey (1869-1954) was an English comedian, singer and actor in musical theatre, who became known as one of the greatest music hall performers of the late 19th and early 20th centuries. As a comedian, Robey mixed everyday situations and observations with comic absurdity. Apart from his music hall acts, he was a popular Christmas pantomime performer in the English provinces, where he excelled in the 'Pantomime dame' roles. He only had modest success in the cinema.
George Robey was born as George Edward Wade in London in 1869. He came from a middle-class family. His father, Charles Wade, was a civil engineer who spent much of his career on tramline design and construction. Robey's mother, Elizabeth Mary Wade née Keene, was a housewife. After schooling in England and Germany and a series of office jobs, he made his debut on the London stage, at the age of 21, as the straight man to a comic hypnotist. He soon developed his act and appeared at the Oxford Music Hall in 1890, where he earned favourable notices singing The Simple Pimple and He'll Get It Where He's Gone to Now. In 1892, Robey appeared in his first pantomime, Whittington Up-to-date in Brighton, which brought him to a wider audience. With Robey's popularity came an eagerness to differentiate himself from his music hall rivals, and so he devised a signature costume when appearing as himself: an oversized black coat fastened from the neck down with large, wooden buttons; black, unkempt, baggy trousers and a partially bald wig with black, whispery strands of unbrushed, dirty-looking hair that poked below a large, dishevelled top-hat. He applied thick white face paint and exaggerated the redness on his cheeks and nose with bright red makeup; his eyeline and eyebrows were also enhanced with thick, black grease paint. He held a short, misshaped, wooden walking stick, which was curved at the top. Robey later used the costume for his character, The Prime Minister of Mirth. The outfit helped Robey become instantly recognisable on the London music hall circuit. More provincial engagements followed in Manchester, Birmingham and Liverpool, and he soon became a mainstay of the popular Christmas pantomime scene. By the start of the new century, Robey was a big name in pantomime, and he was able to choose his roles. Pantomime enjoyed wide popularity until the 1890s, but by the time Robey had reached his peak, interest in it was on the wane. A type of character he particularly enjoyed taking on was the pantomime dame, which historically was played by comedians from the music hall. Robey was inspired by the older comedians Herbert Campbell and Dan Leno, and, although post-dating them, he rivalled their eccentricity and popularity, earning the festive entertainment a new audience. Robey's music hall act matured in the first decade of the 1900s, and he undertook several foreign tours. He starred in the Royal Command Performance in 1912 and regularly entertained before the aristocracy. Robey had made his film debut in 1900, according to IMDb. The short comedy The Rats (N.N., 1900) offered a brief glimpse of some of the greatest entertainers from the late Victorian and early Edwardian stage, Dan Leno, Herbert Campbell and George Robey. In 1913, Robey appeared in two early sound shorts: And Very Nice Too (Walter R. Boots, 1913) and Good Queen Bess (Walter R. Boots, 1913), made in the Kinoplasticon process, where the film was synchronised with phonograph records. The next year, he tried to emulate his music hall colleagues Billy Merson and Charlie Austin, who had set up Homeland Films and found success with the Squibs series of films starring Betty Balfour. Robey met filmmakers from the Burns Film Company, who engaged him in a silent short entitled George Robey Turns Anarchist, in which he played a character who fails to blow up the Houses of Parliament. George Robey's Day Off (1919) showed the comedian acting out his daily domestic routines to comic effect, but the picture failed at the box office. Producers did not know how best to apply Robey's stage talents to the film. He continued to appear sporadically in film throughout the rest of his career, never achieving more than a modest amount of success. By the First World War, music hall entertainment had fallen out of favour with audiences. Revue appealed to wartime audiences, and Robey decided to capitalise on the medium's popularity. He achieved great success in The Bing Boys Are Here (1916). He was cast as Lucius Bing opposite Violet Loraine, who played his love interest Emma. The couple duetted in the show's signature song If You Were the Only Girl (In the World), which became an international success. Robey raised money for many war charities and was appointed a CBE in 1919. From 1918, he created sketches based on his Prime Minister of Mirth character and used a costume he had designed in the 1890s as a basis for the character's attire.
George Robey starred in the revue Round in Fifty in 1922, which earned him still wider notice. He returned to the cinema a further four times during 1923. The first two films were written to showcase his pantomime talents: One Arabian Night (Sinclair Hall, 1923) was a reworking of Aladdin and co-starred Lionelle Howard and Edward O'Neill. Harlequinade (A.E. Coleby, 1923) visited the roots of pantomime. One of Robey's more notable film roles was Sancho Panza in Don Quixote (Maurice Elvey, 1923), for which he received a fee of £700 a week. The amount of time he spent working away from home led to the breakdown of his marriage, and he separated from Ethel in 1923. Except for his performances in revue and pantomime, he appeared as his Prime Minister of Mirth character in all the other entertainment media including variety, music hall and radio. In the late 1920s Robey wrote and starred in two Phonofilm sound-on-film productions, Safety First (Hugh Croise, 1928) and Mrs. Mephistopheles (Hugh Croise, 1929). In 1932 Robey appeared in his first sound film, The Temperance Fête (Graham Cutts, 1932). It was followed by Marry Me (Wilhelm Thiele, 1932), starring German actress Renate Müller, which was one of the most successful musical films of his career. The film tells the story of a sound recordist in a gramophone company who romances a colleague when she becomes the family housekeeper. Robey continued to perform in variety theatre in the inter-war years and, in 1932, he starred in Helen!, his first straight theatre role. His appearance brought him to the attention of many influential directors, including Sydney Carroll, who signed him to appear on stage as Falstaff in Henry IV, Part 1 in 1935, a role that he later repeated in Laurence Olivier's film, Henry V (1944). Robey starred opposite Fritz Kortner, and Anna May Wong in a film version of the hit musical Chu Chin Chow (Walter Forde, 1934). The New York Times called him 'a lovable and laughable Ali Baba'. In the summer of 1938, Robey appeared in the film A Girl Must Live (Carol Reed, 1939) in which he played the role of Horace Blount. A journalist for The Times opined that Robey's performance as an elderly furrier, the love interest of both Margaret Lockwood and Lilli Palmer, was 'a perfect study in bewildered embarrassment'. During the Second World War, Robey raised money for charities and promoted recruitment into the forces. Robey starred in the film Salute John Citizen (Maurice Elvey, 1942), co-starring Edward Rigby and Stanley Holloway, about the effects that the war had on a normal British family. A further four films followed in 1943, one of which promoted war propaganda while the other two displayed the popular medium of cine-variety. By the 1950s, his health had deteriorated, and he entered semi-retirement. George Robey was knighted a few months before his death at his home in Saltdean, East Sussex, in 1954. He was 85. Robey was married Twice. In 1898, Robey married his first wife, Ethel Hayden, the Australian-born musical theatre actress. Ethel accompanied him on his tours and frequently starred alongside him. They had two children, a son Edward (1900) and a daughter Eileen. After his divorce from Ethel in 1938, he married Blanche Littler, who was more than two decades his junior.
Sources: Wikipedia and IMDb.
And please check out our blog European Film Star Postcards.
In analytical psychology, the shadow (also known as ego-dystonic complex, repressed id, shadow aspect, or shadow archetype) is an unconscious aspect of the personality that does not correspond with the ego ideal, leading the ego to resist and project the shadow, creating conflict with it. The shadow may be personified as archetypes which relate to the collective unconscious, such as the trickster.[1][2][3][4][5]
Overview
Main articles: Defence mechanism and Anxiety
For broader coverage of this topic, see Introjection, Identification (psychology), and Guilt–shame–fear spectrum of cultures.
See also: Dark triad and Otto F. Kernberg
The shadow can be thought of as the blind spot of the psyche.[6] The repression of one's id, while maladaptive, prevents shadow integration, the union of id and ego.[7][8] While they are regarded as differing on their theories of the function of repression of id in civilization, Sigmund Freud and Carl Jung coalesced at Platonism, wherein id rejects the nomos.[clarification needed][9] Persona is contrasted against the shadow.[10] Jung regarded the shadow as unconscious – id and biography – suppressed under the superego's ego-ideal, the way the superego wants to be.[11] The shadow is projected onto one's social environment as cognitive distortions.[12] However, the shadow can also be regarded as "roughly equivalent to the whole of the Freudian unconscious",[13] and Jung himself asserted that "the result of the Freudian method of elucidation is a minute elaboration of man's shadow side unexampled in any previous age".[14]: 63
Contrary to a Freudian definition of shadow, the idea can include everything outside the light of consciousness and may be positive or negative.[citation needed] Because a subject can repress awareness or conceal self-threatening aspects of the self, consensus of the idea of the shadow that it is a negative function in the self, despite the extent of the repression failing to prohibit these aspects.[15] There are positive aspects that can remain hidden in one's shadow – especially in people with low self-esteem, anxieties, and false beliefs – with these aspects being brought to the conscious mind and exercised through analysis and therapy.[16] It may be considered the subject's identification with id, superseded in early childhood, though it can also be influenced by early to late childhood.[17][18]
Jung wrote that if awareness of the projection of the shadow remains repressed, "the projection-making factor (the Shadow archetype) then has a free hand and can realize its object – if it has one – or bring about some other situation characteristic of its power", lending the idea autonomous qualities which can have consequences on the id and the ego.[19] These projections insulate and delude individuals in society by acting as a symbolically deployed barrier between the ego and the ego-less Real.
Collective shadow
Main article: Psychopomp
For broader coverage of this topic, see Systems psychology, Mephistopheles, and Daimon.
See also: Scapegoat, Collective trauma, and Odin
The collective unconscious, a concept that states that all of humanity shares some unconscious ideals, forms a projective identification with uncertainty and feelings of helplessness along with other negative feelings. This projection frequently identifies with the figure of the Devil as the "fourth" aspect of the Pauline-Christian trinity, functioning as its grounding myth.[24] This idea can be seen in other mythologies, for instance, the ancient-Egyptian-devil Set "represents overwhelming affects".[25] The collective shadow is ancestral and is carried by the collective experience of the human race (i.e., in-group and out-group: dehumanization; e.g., hate crime).[26][27]
Appearance
Main article: Daimon
For broader coverage of this topic, see Masking (personality) and Censorship (psychoanalysis).
See also: The Emperor's New Clothes
Jungians believe that the shadow aspect of the Self may appear in dreams and visions (i.e., mise-en-scène),[28][29] in various forms and typically "appears as a person of the same sex as that of the dreamer."[30]: 175 The shadow's appearance and role depend greatly on the living experience of the individual because much of the shadow develops in the individual's mind rather than simply being inherited from the collective unconscious and is important in the Jungian approach to dream interpretation.[30]: 183 Nevertheless, some Jungians maintain that "the shadow contains, besides the personal shadow, the shadow of society [...] fed by the neglected and repressed collective values."[31]
Jung also made the suggestion that the shadow may be made up of many layers. The top layers contain the meaningful flow and manifestations of direct personal experiences. These are made unconscious in the individual by such things as the change of attention from one thing to another, simple forgetfulness, or a repression. Underneath these specific layers, however, are the archetypes which form the psychic contents of all human experiences. Jung described this deeper layer as "a psychic activity which goes on independently of the conscious mind and is not dependent even on the upper layers of the unconscious – untouched, and perhaps untouchable – by personal experience."[32]
Encountering the shadow
Main article: Nekyia
For broader coverage of this topic, see Active imagination and Amplification (psychology).
See also: Dialectic, Dialogic, Hero's journey, and Katabasis
As the shadow is a part of the unconscious, a method called Shadow work is practiced through active imagination with daydreaming and meditation – the experience is then mediated by dialectical interpretation through narrative and art (pottery, poetry, drawing, dancing, singing, etc.); analysts perform dreamwork on analysands, using amplification to raise the unconscious to conscious awareness.[33][34][35] Jung uses the term Nekyia to describe the descent into darkness, where the ego fades.[36]
The eventual encounter with the shadow plays a central part in the process of individuation. Jung considered that "the course of individuation [...] exhibits a certain formal regularity. Its signposts and milestones are various archetypal symbols" marking its stages; and of these "the first stage leads to the experience of the shadow."[37] If "the breakdown of the persona constitutes the typical Jungian moment both in therapy and in development,"[38] it is this that opens the road to the shadow within, coming about when "beneath the surface a person is suffering from a deadly boredom that makes everything seem meaningless and empty...as if the initial encounter with the Self casts a dark shadow ahead of time."[30]: 170 Jung considered as a perennial danger in life that "the more consciousness gains in clarity, the more monarchic becomes its content...the king constantly needs the renewal that begins with a descent into his own darkness"[39]: 334 – his shadow – which the "dissolution of the persona" sets in motion.[40]
"The shadow personifies everything that the subject refuses to acknowledge about himself",[41]: 284 whether consciously or unconsciously, and represents "a tight passage, a narrow door, whose painful constriction no one is spared who goes down to the deep well."[41]: 21
[If and when] an individual makes an attempt to see his shadow, he becomes aware of (and often ashamed of) those qualities and impulses he denies in himself but can plainly see in others – such things as egotism, mental laziness, and sloppiness; unreal fantasies, schemes, and plots; carelessness and cowardice; inordinate love of money and possessions...[30]: 174
The dissolution of the persona and the launch of the individuation process also brings with it "the danger of falling victim to the shadow ... the black shadow which everybody carries with him, the inferior and therefore hidden aspect of the personality"[42] – resulting in a merger with the shadow.
Merging with the shadow
For broader coverage of this topic, see Positive disintegration, Anagoge, and Introjection.
Jung considered merging with the shadow as typically bad, viewing it as the process of the suppressed id overwriting or controlling the ego. According to Jung, the shadow sometimes overwhelms a person's actions; for example, when the conscious mind is shocked, confused, or paralyzed by indecision. "A man who is possessed by his shadow is always standing in his own light and falling into his own traps...living below his own level."[41]: 123 Hence, in terms of the story of Dr. Jekyll and Mr. Hyde, "it must be Jekyll, the conscious personality, who integrates the shadow ... and not vice versa. Otherwise the conscious becomes the slave of the autonomous shadow."[43]
Individuation inevitably raises that very possibility as it further separates the ego from the collective unconsciousness. As the process continues, and "the libido leaves the bright upper world... sinks back into its own depths... below, in the shadows of the unconscious."[44] so too what comes to the forefront is "what was hidden under the mask of conventional adaptation: the shadow", with the result that "ego and shadow are no longer divided but are brought together in an – admittedly precarious – unity."[45][full citation needed]
The effect of such "confrontation with the shadow produces at first a dead balance, a standstill that hampers moral decisions and makes convictions ineffective ... nigredo, tenebrositas, chaos, melancholia."[39] Consequently, as Jung knew from personal experience: "In this time of descent – one, three, seven years, more or less – genuine courage and strength are required",[46] with no certainty of emergence. Nevertheless, Jung remained of the opinion that while "no one should deny the danger of the descent [...] every descent is followed by an ascent",[47] and assimilation of – rather than possession by – the shadow becomes a possibility.
Assimilation of the shadow
Main articles: Anima and animus and Acceptance
For broader coverage of this topic, see Reality testing, Metanoia (psychology), Pleroma, and Post-traumatic growth.
Assimilation[48] is the process of acknowledging the shadow and possibly incorporating parts of it into the ego. Jungians believe this may lead to a numinous experience, while anchoring to the numinosum effect without reality testing can lead to ego inflation (qv., archetypal possession).[49]
In analytical psychology, the struggle for the superego is to retain awareness of the shadow, but not to become it or be controlled by it. "Non-identification demands considerable moral effort [which] prevents a descent into that darkness"; and though "the conscious mind is liable to be submerged at any moment in the unconscious...understanding acts like a life-saver. It integrates the unconscious."[50][full citation needed] This reincorporates the shadow into the personality, producing a stronger, wider consciousness than before. "Assimilation of the shadow gives a man body, so to speak,"[14]: 239 thereby providing a launchpad for further individuation. "The integration of the shadow, or the realization of the personal unconscious, marks the first stage in the analytic process... without it a recognition of anima and animus is impossible."[51] Conversely, "to the degree in which the shadow is recognised and integrated, the problem of the anima, i.e., of relationship, is constellated,"[41]: 270n and becomes the centre of the individuation quest.
Carolyn Kaufman wrote that "in spite of its function as a reservoir for human darkness – or perhaps because of this – the shadow is the seat of creativity;"[52] so that for some, it may be that "the dark side of his being, his sinister shadow...represents the true spirit of life as against the arid scholar."[53] Nevertheless, Jungians warn that "acknowledgement of the shadow must be a continuous process throughout one's life;"[54] and even after the focus of individuation has moved on to the animus/anima, "the later stages of shadow integration" will continue to take place – the grim "process of washing one's dirty linen in private,"[55] of accepting one's shadow.
Popular culture
Mr. Hyde from Strange Case of Dr Jekyll and Mr Hyde[56]
The young wizard Ged in Ursula K. Le Guin's 1968 novel A Wizard of Earthsea must confront his own shadow, influenced by Le Guin's interest in Jung [57]
The 1971 David Bowie song "Shadow Man"[58]
Persona, a series of Japanese role-playing video games (JRPG) where many Jungian concepts are used directly, including the shadow, the collective shadow, Persona, and Archetypes[59][60]
The video games Alan Wake and Control reference many Jungian concepts such as the Collective unconscious, Synchronicity, and the shadow
Luke Skywalker's confrontation with Darth Vader in the cave of Dagobah in the film The Empire Strikes Back (1980)[citation needed]
Gollum with himself in the novel The Lord of the Rings (1954–1955)[citation needed]
See also
Psychology portal
Alter ego
Anger management
Antagonist
Anticathexis
Apollonian and Dionysian
Bias blind spot
Big Five personality traits
Cognitive bias
Cognitive dissonance
Cognitive distortion
Compartmentalization (psychology)
Death drive
Egosyntonic and egodystonic
Eros (concept)
Eudaimonia
Homunculus argument
Inferiority complex
The Shadow (fairy tale)
Transpersonal psychology
Yin and yang
Further reading
Abrams, Jeremiah. 1995. The Shadow in America. Nataraj.
Abrams, Jeremiah, and Connie Zweig. 1991. Meeting the Shadow: The Hidden Power of the Dark Side of Human Nature. Tarcher. ISBN 0-87477-618-X
Arena, Leonardo Vittorio. 2013. The Shadows of the Masters. ebook.
Bly, Robert. 1988. A Little Book on the Human Shadow, edited by William Booth. San Francisco: Harper and Row. ISBN 0-06-254847-6
Campbell, Joseph, ed. 1971. The Portable Jung, translated by R. F. C. Hull. New York: Penguin Books.
Johnson, Robert A. 1993. Owning Your Own Shadow: Understanding the Dark Side of the Psyche. Harper San Francisco, 128 pp. ISBN 0-06-250754-0.
– – 1989. Inner Work: Using Dreams and Creative Imagination for Personal Growth and Integration. Harper San Francisco, 241 pp. ISBN 0-06-250431-2.
Massi, Danielle. 2022. Shadow Work: Face Hidden Fears, Heal Trauma, Awaken Your Dream Life. New York: Sterling Ethos.
Neumann, Erich. 1990. Depth Psychology and a New Ethic (reprint ed.). Shambhala. ISBN 0-87773-571-9.
Zweig, Connie, and Steve Wolf. 1997. “Romancing the Shadow.” Ballantine.
– – “Meeting the Shadow of Spirituality.”
References
Beebe, John (2004). "Understanding consciousness through the theory of psychological types". In Cambray, Joseph; Carter, Linda (eds.). Analytical Psychology: Contemporary Perspectives in Jungian Analysis. Advancing Theory in Therapy. Routledge. p. 110. ISBN 978-1-58391-999-6. Opposing Personality [...] Senex/Witch [...] Trickster [...] Demonic Personality [...] EGO-DYSTONIC COMPLEXES Shadow.
Solomon, Hester McFarland (2004). "The ethical attitude in analytic training and practice". In Cambray, Joseph; Carter, Linda (eds.). Analytical Psychology: Contemporary Perspectives in Jungian Analysis. Advancing Theory in Therapy. Routledge. p. 251. ISBN 978-1-58391-999-6. The shadow, that portion of the self that the ego designates as bad and projects as unwanted, carries what is treacherous and subversive – what is unethical and immoral – within the self and hides it, relegating its contents to unconscious areas within the psyche where it can be lived out in projection, using and abusing the other as a vehicle for the bad aspects of the self.
Jung, Carl (1971). "Aion: Phenomenology of the Self (The Ego, the Shadow, the Syzygy: Anima/Animus)". In Campbell, Joseph (ed.). The Portable Jung. Penguin Books. pp. 145, 146. ISBN 978-0-14-015070-4. The shadow is the moral problem that challenges the whole ego-personality [...] To become conscious of it involves recognizing the dark aspects of the personality as present and real. [...] dark characteristics[...]the inferiorities constituting the shadow[...]have an emotional nature, a kind of autonomy, and accordingly an obsessive or, better, a possessive quality. [...] These resistances are usually bound up with projections, which are not recognized as such, and their recognition is a moral achievement beyond the ordinary.
Hillman, James (1977). Re-Visioning Psychology. Harper. p. 128. ISBN 978-0-06-090563-7. Archetypal psychology envisions the fundamental ideas of the psyche to be expressed of persons – Hero, Nymph, Mother, Senex, Child, Trickster, Amazon, Puer and many other specific prototypes bearing the names and stories of the Gods. These are the root metaphors.
Avens, Roberts (1977). "The Image of the Devil in C. G. Jung's Psychology". Journal of Religion and Health. 16 (3): 196–222. doi:10.1007/BF01533320. JSTOR 27505406. PMID 24318090. S2CID 13610615. Retrieved 2022-06-25. The shadow symbolizes our 'other side,' the unrecognizable and disowned, animal-like personality rejected by the ego. [...] [T]he trickster, in Jung's psychology, is the collective shadow figure par excellence.
Brown, Rebecca; Stobart, Karen (2008). Understanding Boundaries and Containment in Clinical Practice. The Society of Analytical Psychology Monograph Series. Karnac Books. p. 7. ISBN 978-1-85575-393-8. Those parts of our psyches that are hidden and that we find difficult to face, Jung called 'the shadow'.
Avens, Roberts (1977). "The Image of the Devil in C. G. Jung's Psychology". Journal of Religion and Health. 16 (3): 196–222. doi:10.1007/BF01533320. JSTOR 27505406. PMID 24318090. S2CID 13610615. Retrieved 2022-06-25. [M]odern civilization provides inadequate opportunities for the shadow archetype to become individuated because in childhood our animal instincts are usually punished by parents. This leads to repression: the shadow returns to the unconscious layer of the personality, where it remains in a primitive, undifferentiated state.
Le Guin, Ursula K. (1975). "The Child and the Shadow". The Quarterly Journal of the Library of Congress. 32 (2): 139–148. JSTOR 29781619. Retrieved 2022-06-25. The shadow is all that gets suppressed in the process of becoming a decent, civilized adult. [... it's] man's thwarted selfishness, his unadmitted desires, the swearwords he never spoke, the murders he didn't commit. The shadow is the dark side of his soul, the unadmitted, the inadmissible.
Demos, Raphael (1955). "Jung's Thought and Influence". The Review of Metaphysics. 9 (1): 71–89. JSTOR 20123485. Retrieved 2022-06-25. As for the 'shadow' side of human nature (on which there is no difference of opinion between Freud and Jung) we may remind ourselves of Plato's phrase that 'in all of us, even those that are the most respectable, there is a lawless, wildbeast nature which appears in sleep' [...] (Republic 571-2)
Demos, Raphael (1955). "Jung's Thought and Influence". The Review of Metaphysics. 9 (1): 71–89. JSTOR 20123485. Retrieved 2022-06-25. [T]he polarity of opposites[...]persona-shadow[.])
Humphrey, Caroline (2015). "Shadows Along the Spiritual Pathway". Journal of Religion and Health. 54 (6): 2376–2388. doi:10.1007/s10943-015-0037-2. JSTOR 24735970. PMID 25794547. S2CID 11733262. Retrieved 2022-06-25. Jung construed [...] the personal shadow, [as] a biological and biographical shadow unique to each person, consisting of whatever innate instincts and transpersonal potentials we have suppressed in the course of adapting to society, along with archaic and traumatic memories [of the unconscious]. [...] The personal shadow is rooted in the shadow of our social group, which has moulded our ego-ideal and world view[.]
Spivack, Charlotte K. (1965). "The Journey to Hell: Satan, the Shadow, and the Self". The Centennial Review. 9 (4): 420–437. JSTOR 23737939. Retrieved 2022-06-25. The major activity of the shadow is what Jung calls projection. [...] cast[ing] forth its ruling [negative] emotions [...] into other people ('people don't like me') or [...] considers [everything] a hostile, malevolent environment ('the world is against me').
Anthony Stevens, On Jung (London 1990) p. 43
Jung, C. G. 1993. The Practice of Psychotherapy. London.
Jung, C.G. 1938. "Psychology and Religion". In Psychology and Religion: West and East, Collected Works of C.G. Jung 11. p. 131
Young-Eisendrath, P. and T. Dawson. 1997. The Cambridge Companion to Jung. Cambridge University Press. p. 319.
Jung, C.G. 1952. "Answer to Job." In Psychology and Religion: West and East, Collected Works of C.G. Jung 11. p. 12.
Fordham, Michael (January 1965). "The Importance of Analysing Childhood for Assimilation of the Shadow". Journal of Analytical Psychology. 10 (1): 33–47. doi:10.1111/j.1465-5922.1965.00033.x. ISSN 0021-8774. PMID 14253371.
Jung, C.G. 1951. "Phenomenology of the Self." In The Portable Jung. p. 147.
Avens, Roberts (1977). "The Image of the Devil in C. G. Jung's Psychology". Journal of Religion and Health. 16 (3): 196–222. doi:10.1007/BF01533320. JSTOR 27505406. PMID 24318090. S2CID 13610615. Retrieved 2022-06-25. [A]s superstition holds, a man without shadow is the devil himself. [...] The devil[...]can be regarded as God's dissatisfaction with himself, a projection of his own doubt [...] The devil here is a psychopomp[.]
Humphrey, Caroline (2015). "Shadows Along the Spiritual Pathway". Journal of Religion and Health. 54 (6): 2376–2388. doi:10.1007/s10943-015-0037-2. JSTOR 24735970. PMID 25794547. S2CID 11733262. Retrieved 2022-06-25. So it is originally a darkness of obscurity and mystery, rather than a darkness of degeneracy, disease or 'evil'. [...] a byproduct of our tendency to repress impulses which are anathema to our ego-ideals[.]
Clark, Margaret (2005). Understanding the Self-Ego Relationship in Clinical Practice: Towards Individuation. Routledge. p. 8. ISBN 978-0-367-10552-5. Jung often uses language we usually associate with God to think about the collective unconscious.
Schwartz-Salant, Nathan (2018) [1989]. The Borderline Personality: Vision and Healing. Chiron Publications. p. 92. ISBN 978-1-63051-515-7. Jungian theory commonly fills the place of the 'fourth' with the archetypal feminine but also includes evil as a fourth element.
[20][21][22][23]
Schwartz-Salant, Nathan (2018) [1989]. The Borderline Personality: Vision and Healing. Chiron Publications. p. 21. ISBN 978-1-63051-515-7. In Egyptian myth the devil Set, who is the enemy of the forces of order, represents overwhelming affects, including terrifying abandonment depression and dismemberment.
Humphrey, Caroline (2015). "Shadows Along the Spiritual Pathway". Journal of Religion and Health. 54 (6): 2376–2388. doi:10.1007/s10943-015-0037-2. JSTOR 24735970. PMID 25794547. S2CID 11733262. Retrieved 2022-06-25. Jung construed [...] the collective shadow, an ancestral shadow which [has been] accrued in the course of history in respect of each collectivity [...] both particularistic social groups and the human species as a whole.
Le Guin, Ursula K. (1975). "The Child and the Shadow". The Quarterly Journal of the Library of Congress. 32 (2): 139–148. JSTOR 29781619. Retrieved 2022-06-25. The shadow is projected outward, onto others. There's nothing wrong with me – it's them.
Le Guin, Ursula K. (1975). "The Child and the Shadow". The Quarterly Journal of the Library of Congress. 32 (2): 139–148. JSTOR 29781619. Retrieved 2022-06-25. The shadow stands on the threshold between the conscious and unconscious mind, and we meet it in our dreams, as sister, brother, friend, beast, monster, enemy, guide.
Derrida, Jacques; Domingo, Willis; Hulbert, James; Ron, Moshe; L., M.-R. (1999). "The Purveyor of Truth". Yale French Studies (96): 124–197. doi:10.2307/3040722. JSTOR 3040722. Retrieved 2022-08-22. The dreamer is the only one to see himself naked. And in contemplating his nakedness, he is alone. This, Freud says, is 'a suggestive point.' [...] the other [dream] people should be staring and laughing or becoming angry, but they are not.
von Franz, Marie-Louise. [1964] 1978. "The Process of Individuation." In Man and his Symbols, edited by C. G. Jung. London: Picador. ISBN 0-330-25321-2.
Fordham, Michael. 1978. Jungian Psychotherapy. Avon. p. 5.
Jung, C.G. The Structure and Dynamics of the Psyche. p. 148.
Humphrey, Caroline (2015). "Shadows Along the Spiritual Pathway". Journal of Religion and Health. 54 (6): 2376–2388. doi:10.1007/s10943-015-0037-2. JSTOR 24735970. PMID 25794547. S2CID 11733262. Retrieved 2022-06-25. Learning to [day]dream [...] is advisable for the serious practitioner of shadow work, and Jung developed the technique of active imagination to this end. If we carve out a regular space – time for silence and solitude, we may discern the murmurings of another voice within us or the spontaneous formation of an image in our mind [...] afterwards we need to record our experiences to render the memorable by writing a message, drawing an image, performing a dance sequence or vocalising a melody (cf. Hannah 1991; Rowan 2005, pp. 125-147)
Falzeder, Ernst (2012). "Freud and Jung, Freudians and Jungians". Jung Journal: Culture & Psyche. 6 (3): 24–43. doi:10.1525/jung.2012.6.3.24. JSTOR 10.1525/jung.2012.6.3.24. S2CID 144239928. Retrieved 2022-06-28. Apart from using dreams, Jung's method of soliciting emanations and manifestations of the unconscious was that of 'active imagination,' a method that produces a kind of waking vision or phantasy, which he then subjected to what he called 'amplification,' consisting essentially in finding 'parallels' to those images in 'collective' imaginations, such as myths, religious systems and practices, visions, alchemy, yoga[.]
Clark, Margaret (2005). Understanding the Self-Ego Relationship in Clinical Practice: Towards Individuation. The Society of Analytical Psychology Monograph Series. Routledge. p. 93. ISBN 978-0-367-10552-5. Active imagination is a technique that promotes dialogue between the ego and the self. The ego is deliberately set aside temporarily, and images from the unconscious arise and develop; the ego watches the story unfold as in a theatre, noting plot, characters, setting, dialogue. [...] If the patient is on their own [doing solo-work], it is obviously important that their ego is able to cope with whatever images and affects the self produces [...] the practitioner of active imagination can be overwhelmed by the emerging unconscious material[.] [...] Art therapy and drama therapy are based on the theory of active imagination; images can also be formulated in pottery, or poetry.
Marlan, Stanton. The Black Sun: The Alchemy and Art of Darkness. pp. 23–25. Jung refers to the descent into darkness as nekyia. In Psychology and Alchemy, Jung uses this Greek word to designate a ' 'journey to Hades,' a descent into the land of the dead.' [...] The nekyia ultimately leads to the fading of the ego's light and a death[.]
Jacobi, J. 1946. The Psychology of C. G. Jung. London. p. 102.
Homans, Peter. 1979. Jung in Context. London. p. 102.
C. G. Jung, Mysterium Coniunctionis (London 1963)
Jung, C. G. 1953. Two Essays on Analytical Psychology. London. p. 277.
Jung, C.G. The Archetypes and the Collective Unconscious (London 1996).
Jung, C. G. 1954. "Psychology of the Transference." In Practice of Psychotherapy, Collected Works 16. London. p. 219.
Stevens, Jung p. 50
Jung, C. G. 1944. Psychology of the Unconscious. London. pp. 181–82.
Jung "Psychology"[full citation needed] pp. 238–39
Bly, Robert, and Marion Woodman. 1999. The Maiden King. Dorset.
Jung, C. G. Symbols of Transformation (London 1956) pp. 357, 375
"Definition of ASSIMILATE". www.merriam-webster.com. 2023-10-16. Retrieved 2023-10-23.
Schwartz-Salant, Nathan (2018) [1989]. The Borderline Personality: Vision and Healing. Chiron Publications. pp. 93, 121. ISBN 978-1-63051-515-7. Only with a conscious integration of the shadow can the positive numinosum actualize. [...] The experience of our [human limiations via] embodied size is essential for the numinosum to gain actuality; without this knowledge of our limitations, and hence, an awareness of our humanity, contact with the numinosum leads to an inflated state. [...] ego [...] inflation[.]
Jung, "Psychology"[full citation needed] pp. 260, 266, and 269
Jung, C. G. Aion: Researches into the Phenomenology of the Self. (London 1959) p. 22
Kaufman, Carolyn. "Three-Dimensional Villains: Finding Your Character's Shadow." Archetype Writing: The Writer's Guide to Psychology.
Jung, C. G. Memories, Dreams, Reflections (London 1983) p. 262
Hart, David L. 1977. "The classical Jungian school." In The Cambridge Companion to Jung, edited by P. Young-Eisendrath and T. Dawson. Cambridge: Cambridge University Press. p. 92
Stevens, On Jung p. 235
Gómez Moreno, Marta; Hewitt Hughes, Elena Carolina (July 2016). "An analysis of Stevenson's novel based on Jung's theory of the Shadow archetype in The strange case of Dr. Jekyll and Mr. Hyde". Alpha (Osorno) (42): 51–76. doi:10.4067/S0718-22012016000100005. ISSN 0718-2201.
Bailey, Edgar C. (1980-01-10). "Shadows in Earthsea: Le Guin's Use of a Jungian Archetype". Extrapolation. 21 (3).
Stark, Tanja (22 June 2015). Crashing Out with Sylvian: David Bowie, Carl Jung and the Unconscious" in Deveroux, E., M.Power and A. Dillane (eds.) David Bowie: Critical Perspectives. Routledge Press. pp. 82–110. Retrieved 4 December 2016.
"'Persona' Bends But Doesn't Totally Break Jungian Psychology". Inverse. 2016-10-27. Retrieved 2023-11-08.
Gailloreto, Coleman (2020-04-10). "The Jungian Psychology Concepts Which Acted As Inspiration For The Persona Franchise". ScreenRant. Retrieved 2023-11-08.
External links
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立法會鐵路事宜小組委員會視察港鐵金鐘站
立法会铁路事宜小组委员会视察港铁金钟站
LegCo Subcommittee on Matters Relating to Railways visits the MTR Admiralty Station (2015.05.19)
Kinetic: Relating to, caused by, or producing motion.
These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.
Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!
None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.
Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.
Albeit supremely risky this is one of my favorite ways to produce abstract photographs.
If you'd like to see more please check out my set, "Vertigo:"
www.flickr.com/photos/motorpsiclist/sets/72157630591282642/
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To read more about Kinetic Photography click the Wikipedia link below:
en.wikipedia.org/wiki/Kinetic_photography
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
Postcard FTP01314_35
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
This relates to the St David's Day photograph because on the (very grubby) back the name Hannah Aldred is pencilled in twice with the same address as the Edward mentioned on the back of that photo.
Found in Clitheroe, printed with a postcard back.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
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simplykaytie: many celebrities use gramcool -c om
January 2023. Photo credit: David Estrada/Grupo Creativo Naturaleza Secreta
Relates to UNDP-supported Green Climate Fund-financed project 'Coastal Resilience to Climate Change in Cuba through Ecosystem Based Adaptation' ("Mi Costa") www.adaptation-undp.org/GCF-Cuba
FISHERMAN OF SEA AND LAND
The fishermen of Troy are now sea and land.
Ernesto has found a way to organize his days to go fishing and also tend to the land. He goes out on his boat around 9pm at night and doesn't come back until 6am in the morning. He then spends the afternoon cultivating.
He says things have changed. "I tell you, I'm 59 years old, and that sea was there - way over there." He gestures.
He says that there aren't as many "peje" as before and that he can't catch either jurel nor sting.
"In this area (Ensenada del Cave) you used to see Carey and manatees, but not anymore - they are endangered."
The shape of the place has also changed a lot, the sea has penetrated.
He wonders about the melting of glaciers far away.And emphasis the importance of planting mangroves for protection.
The popular wisdom of fishermen like Ernesto are examples of the work in terms of environmental education that is also carried out in Manzanillo.
Projects like 'Mi Costa' aim to reinforce that knowledge and contribute with technical advice to protect this area so important within the Gulf of Guacanayabo.
#proyectomicosta
Hieronymus: Vitae sanctorum patrum, sive Vitas patrum [English]. The lyff of the faders. Translated by William Caxton. Westminster: Wynkyn de Worde, [before 21 Aug.] 1495. Page of text (d1v) relating to the life of Saint Machaire of Alexandrye with woodcut illustration. Sp Coll Hunterian Bv.2.13.
All I know about the Horse and Jockey pub is that there is a reference to it in court transcripts relating to a case involving Solomon Head, aka Solomon Troke, a local poacher and rogue, held at the Christchurch Town Hall in 1864.
Redhill at that time was a small hamlet and remained so into the early 1900s when Pascoe Marshall was a young lad growing up there, a time he recalls in his memoir 'My Story', where he also refers to the Horse and Jockey, stating that it was rebuilt, presumably as the above structure, in the 1890s.
It is likely the original building was a modest affair, probably a thatched cottage, a business run from somebody's home prior to modern licencing laws.
Confusingly, an advert in the Daily Echo, when the pub was taken over by new management in 2012, says the pub was built in the 1920s, yet the web site states 'Dating back to 1926' at the top of the home page but underneath refers to it as 'an attractive Victorian pub...'
Another avenue of research indicates that the current building dates from 1906
It is often implied that the pub got it's name in relation to the Ensbury Racecourse that opened nearby in 1925 but it would appear not to be the case.
Obviously i'm no expert on the history of the Horse and Jockey and I don't have time to research it in any depth, but if anyone does know anymore please feel free to comment below, I for one would be extremely interested to know more.
Objects collected by Iain Sinclair relating to his walks in East London.
Taken in the exhibition
Ghost
The show’s second act, Ghost, marks the collapse of hyperinflated 80s culture into an uncanny temperature change that presided over the 90s and early 00s. It traces an unsettling path through to the global financial crisis of 2008, a turning point in time between a century of old and new, at the dawn of a digital age of faceless audiences and invisible cyber wars.
Derek Jarman’s last feature and magnum opus, Blue (1993), offers a profound evocation of the artist’s final days, marrying comforting connection with disconnection from the world, warmth with coldness, as Jarman poetically narrates his approach towards death. Newly commissioned, immersive sound installations from Laura Grace Ford and Nick Ryan highlight the strange frequencies of an age that saw the emergence of trance music and readily accessible sampling machines. Ford’s installation explores the sonic textures of the city to uncover those hiding in the black spots that neoliberalism has failed to assimilate, while Ryan’s voices form a call-and-response, as visitors become spectator, spectacle and a ghost in the machine. Works from Jeremy Millar and Gavin Turk unsettle with a paradoxical clash of ghostly presence and absence, familiarity and otherness. Cornelia Parker’s map, scorched with a heated meteorite fragment, tells a tale of apocalypse for the end of the millennium and the fear of the unknown.
Contributing artists include A Guy Called Gerald, Barry Adamson, Hamad Butt, Adam Chodzko, Kevin Cummins, Graham Dolphin, Tim Etchells, Angus Fairhurst, Paul Finnegan, Laura Grace Ford, Ghostwatch, Lucy Gunning, Paul Heartfield, Susan Hiller, Matthew Holness & Richard Ayoade, Stewart Home, Derek Jarman, Michael Landy, Richard Littler (Scarfolk), Jeremy Millar, Haroon Mirza, Drew Mulholland, Pat Naldi & Wendy Kirkup, Cornelia Parker, Steve Pemberton, Nic Roeg, Nick Ryan, Scanner (Robin Rimbaud), Adam Scovell, Sensory Leakage, Reece Shearsmith, David Shrigley, Iain Sinclair, Kerry Stewart, Tricky, Gavin Turk, Richard Wells, Rachel Whiteread and Words & Pictures.
[Somerset House]
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
This photo relates to my blog post
www.heatheronhertravels.com/the-museum-of-costume-in-nuoro/
This photo is licenced under Creative commons for use including commercial on condition that you link back to or credit http://www.heatheronhertravels.com/.
See my profile for more detail.
I relate to a dinosaur?! That's crazy talk!
Hung out with the best friend, walked around the mall, around walmart and had lunch! (only thing I got was lunch, because i am broke)
Was supposed to go look around the container store, but ended up not going. I am going for sure tomorrow, though.
Ended up going to see The Good Dinosaur, and it was so cute and good! Arlo is my favorite, and when you see the movie you'll understand. I will not spoil the movie for anyone.
332 out of 365
Mary's Fortune's Maternal Grandfather Mr. Clough, c.1915
He came from a very old Sale family. Died in 1927 aged 75.
GB124.DPA/645/1
And yes, that can relate to my eyes as well as my story.
I have decided that the humans I live with are simply unfathomable. Case and point: just because it's a little cold out, they won't take me on a walk late at night during the winter. They expect me to do my end of the night business in the yard. I don't like that much, and generally will only degin to go number 1.
For the past year or so, I've had the run of the house at night. Mom and Dad used to leave all the doors open, and I slept stretched out on the spare room queen sized bed. It was very comfy, let me tell you.
But, as I started to view the spare room as my own, I decided that I could use it to relieve myself of excess number 2 that I wouldn't get rid of in the yard at night. Mom and Dad didn't like this at all, so they started closing the spare room doors. Apparently, just like the rest of the house, I am not allowed to use it to as my bathroom, even if it is MY room.
So now I am back to sleeping on the couch instead of a comfy bed. I've tried sharing with Mom and Dad, which they will allow, but they have too many rules. I'm not allowed to stretch out, I can't sleep on their feet, I can't lay my head on their stomachs, and I can't kick them to make them give me more room.
I love my humans, don't get me wrong. But I don't get them. It was just a little number 2. Why lock me out of my room over that? If it really bothered them that much, I was willing to clean it up myself.
Photo credit: David Estrada/Grupo Creativo Naturaleza Secreta
Relates to UNDP-supported Green Climate Fund-financed project 'Coastal Resilience to Climate Change in Cuba through Ecosystem Based Adaptation' ("Mi Costa") www.adaptation-undp.org/GCF-Cuba
Cruising down the main street of Florida Beach, bumping into the fishing base and returning down the beach road makes one realize that the town is very narrow.
The penetrating sea is like a sharp sword, taking land from the fragile town and the houses.
Unfortunately, it is estimated that by 2050 Florida Beach will disappear from the sea and be stranded on muddy soil.
This is additional to the wear and tear suffered through the years from hurricanes, with Irma (2017) one of the most devastating.
Shrinkage isn't the only thing visible when walking its streets. The village is empty, closed houses abound, and it's almost rare to see villagers loitering.
“This is one of the places in Cuba where more evidence exists of coastline modification caused by climate change," says Isabel Cristina Marquez Ulloa, Coordinator of the 'Mi Costa' project.
With finance from the Adaptation Fund and support from UNDP, the 'Mi Costa' project aims to develop adaptation, and enhance the resilience of coastal ecosystems: corals, seagrasses and cedar forests.
The inclusion of communities in the area in the project is vital, because currently, among the most important problems, is the mismanagement of solid waste and environmental custodianship.
Restoring and caring for the coasts is crucial for ecosystems and people. Many villagers, although migrating to the municipality, intend to keep their work at the fishing base and continue this activity as the main source of income.
Florida Beach, which still retains part of its beauty and colour, is also a potential national and international tourist destination.
#proyectomicosta
Someone once said that if you can relate to Edgar Allen Poe then you must be mentally ill. That person was also a simpleton and devoid of any real awareness of the dark corners of the human character. There is no doubt Poe was tortured man, an eccentric man and just maybe towards the end of his life mentally ill due to disease. No one knows for sure. His works are an expedition into love and loss, grief and insanity. They smite our emotions so hard because the human spirit is largely enveloped in feelings of sadness, rage, longing and feeling out of place. We may not perceive these things every second of everyday but they are there occasionally and they are very real for us. You cannot gaze upon the line “And all I loved, I loved alone” and not feel your heart fracture just a little, not because of the simple cluster of words but because we know all too well what he means! We feel it so deeply! That’s a truly great poet! A great poet deserves great homage, a series bridging many artistic journeys through some of the most adored compositions in Poe’s collection, a chance to create our own visions and build so much more on what he gave us.
"The Masque of the Red Death “is a short story by Edgar Allan Poe. The story follows Prince Prospero's attempts to avoid a dangerous plague, known as the Red Death. He, along with many other wealthy nobles, host a masquerade ball within seven rooms, each decorated with a different color. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut. At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. When the figure turns to face him, the Prince lets out a sharp cry and falls dead... Only then do we realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums it up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
For this project we had to take pictures that relate to a social issue and put them on a poster format. For the social issue, I chose infrastructure. I chose this issue because it’s something i heard a lot about during the 2016 election and i learned more about it. America’s overall grade for infrastructure is a D+. Roads, dams, parks, energy, drinking water, etc are all things that received less than a C+ rating for 2017.
My first picture is of a stairway railing in a house. I really liked the shadows on the wall from the outside light. Houses and buildings are a big part of our infrastructure so i decided to include this photograph.
My second picture is of a brick building in a park by my neighborhood. I liked how the trees in the background were in light and the building was darker. In 2005 and 2009 the overall grade for parks and recreation stayed consistent at a C-. In 2013 the grade rose to a C but in 2017, it fell all the way down to a D+, dropping to its lowest grade. There is an estimated $4.85 billion of unmet needs for America’s parks system.
My third photo is of a stone pathway in a concrete driveway. I liked the leading line of the stone to the end of the picture. In California there are 394,608 miles of Public Roads, with 50% in poor condition. America’s overall grade for roads has stayed at a consistent D since 2005.
The next photograph is a fence near my sister’s school. The overall grade for schools in America rose to a D+ from a D this year, but california’s schools have an estimated capital expenditure gap of $3.2 billion.
The next picture is a tire mark on my driveway with the light coming in from the background. I wanted to incorporate driving into the infrastructure issue because all the driving in America causes most of the damage to our public roads. In a place like Seattle, drivers spend an estimated 66 hours a year in traffic. In Los Angeles the average driver spends 81 a year. This is the most of any major city in America. On Wednesdays at 8 am, the most congested period of time, drivers go an average of 17 mph and spend 58 minutes longer in their cars than they would if there were no or little traffic.
The biggest photograph is of the top part of my house. I thought this picture should be the biggest one because it was the prettiest in my opinion. I think the lighting and the color of the sky combined made for great color and contrast in the photo.
The next picture is of light coming down onto wood. This is my least favorite picture because it doesn’t have anything that stands out but i did however like that it was showcases beautiful wood that we wouldn’t be able to have it we didn’t take care of our planet and the infrastructure that’s on it.
The next photo is a large crack in a dirt road. This was probably caused by many people walking over it. There are $26.2 billion in wastewater infrastructure needs over the next 20 years and America received a C+ in solid waste and a D+ in hazardous waste in 2017.
The next picture is of sun coming through a glass door. I really liked how this picture made me think of energy while looking at it. America’s overall grade in energy is a C+ this year rising from a D+ where it was at for a while.
The last photo is of a waterfall. I wanted to include a picture of water because drinking water is a huge part of our suffering infrastructure. Drinking water has had an overall grade of a D since 2009. There are $44.5 billion in drinking water infrastructure needs over the next 20 years.
In conclusion, i really liked this project because i got to learn more about an issue that is so important. It did take a lot of time to put together, but i appreciate the neatness and presentability. This deteriorating infrastructure impedes California’s ability to compete in an increasingly global marketplace so we need to do something about it.
with A23H
Alfred 23 Harth’s art works and performances relating to the Korean Demilitarized Zone (DMZ) reflect a deeply layered and nuanced engagement with the physical, historical, and cultural realities of the DMZ area, extending far beyond simple representation. Since establishing his studio near the DMZ around 2007, Harth has explored the militarized border zone as an uncanny and charged site, embodying both intense geopolitical tension and paradoxically, a reserve of rare flora and fauna. Through his artistic practice, he discovered and documented military objects like trenches, bunkers, barbed wire fences with stone inserts and alarm bells, recognizing some as strange art objects in themselves. These findings formed a part of his broader artistic narrative, intertwining historical layers of Korean kingdoms (Silla and Goguryeo) with the contemporary division of North and South Korea symbolized by the DMZ.
Harth’s art is informed by archaeological curiosities he pursued in the vicinity, such as shards of celadon ceramics from ancient Korean dynasties found near the DMZ, and the memory of historic places like the wiped-out 20th-century river port Gorangpo. His work reflects an echo from his excursions near the DMZ rather than direct occurrences, capturing the borderline space as a cultural and political phenomenon. This is apparent in his multimedia installation “DUGOUT” (2013) exhibited at the Artsonje Center in Seoul, where he presents a playful yet serious reflection on the DMZ reality, combining military archival material, ancient history, and contemporary urban experiences. The installation embodies the concept proposed by director David Lynch that for every military installation, there should be a peaceful counterbalance.
Harth’s video artwork “Deconstruct Mental Zymotics” delves into the DMZ as a hyperreal cultural trance zone, layered with illusions and political theater, underscored by philosophical voices like Jean Baudrillard and Vilém Flusser. It highlights the DMZ as a vast open-air contemporary art museum surrounded by leisure spots and tourist attractions, illustrating the paradox between militarization and commodification. He further integrates the political situation of the Korean division into his music and performances, collaborating with Korean artists and producing works imbued with these themes, including his mother-of-pearl CDs “nu:clear re:actor” (2004) and “T_error” (2005) and performances along the DMZ spots guided by his unique perspective.
Moreover, Harth relates the contemporary Korean divide to his personal experience growing up in Cold War Germany, where he initially perceived nuclear threats as theatrical fakes, co-founding the group Duck and Cover to artistically comment on militarism. His art thus bridges personal and historical narratives across geopolitical borders, transforming military overkill into a poetic and conceptual meditation on division, conflict, history, and peace.
In summary, Alfred 23 Harth’s DMZ-related artworks and performances engage the border as a complex multi-dimensional space—melding military reality, cultural memory, ecological paradox, political critique, historical archaeology, and artistic interpretation into a rich, reflective body of work.
立法會改善基層住户居住環境事宜小組委員會探訪劏房家庭及參觀位於酒店和賓館的過渡性房屋項目
立法会改善基层住户居住环境事宜小组委员会探访劏房家庭及参观位于酒店和宾馆的过渡性房屋项目
LegCo Subcommittee on Issues Relating to the Improvement of Living Conditions of the Grass-roots Tenants visits families at sub-divided units and transitional housing projects in a hotel and a guesthouse (9.8.2022)
Photo credit: Jati Mallick/UNDP Bangladesh
Relates to UNP-supported GEF-LDCF funded ICBA-AR Project www.bd.undp.org/content/bangladesh/en/home/projects/integ...
born 13th July 1951
Roselle Married in 1974 at Chippenham Wiltshire to Alistair Maccoll
A second photo album relating to the Valdes Scott Family. The first album can be viewed here www.flickr.com/photos/runninginsuffolk/albums/72157665423... This album also turned up at a car boot sale but a year later than the other in 2017. Seems to date from 1951 and the birth of Roselle in Chile.
1909 dated postcard view of a millinery shop and employees in Union City, Indiana. The caption under the smaller photograph reads, “Established 1896.” The caption under the larger photograph reads, “It’s now 1909.” The back side of the postcard included an announcement of the "Winter Millinery Opening." The business name was identified as Oak Street Millinery and Margaret Walden was identified as the proprietor. A 1908 Randolph County directory listed Miss M. B. Walden in the “Millinery” business category with a 223-225 Oak Street address. The 1911 Sanborn™ fire insurance map set for Union City shows a residence and a millinery business at those addresses. The location is the southwest corner at the alley between Union and Columbia streets.
Most of the following information relates to earlier unidentified millinery shops at or near the location of Ms. Walden’s business when this postcard was produced. Some of the information may be unrelated to Ms. Walden’s business. Some of the evidence may identify the location of the business in 1896.
The 1890 Sanborn™ map set shows a grocery in the building at the alley (223 Oak Street) and a millinery business next door to the west (225 Oak Street). Both buildings were two-story wood frame structures and the building at the alley had an exterior stairway to the second floor on the east side of the building (along the alley). Both buildings were vacant when a newer map set was published in June 1896. The 1901 map set shows a millinery business in the building at the alley (with the exterior stairway) while the building next door was vacant. The 1911 map set shows the two-story brick structure (with an iron-clad bay window) that is presented in the postcard scene. The map set identified the east portion as a dwelling and the west portion as a millinery business. This building is still standing at that corner and the bay window is still part of the building. The details on the building next door to the west in the postcard scene seem to match those on the building that is there today. The 1911 map set shows that building next door with its own bay window.
The 1890 map set also shows a millinery shop around the corner, south on the east side of Columbia Street. The 1896 map set actually shows two side-by-side buildings occupied by one larger, or maybe two different, millinery businesses at that location. Those were wood frame buildings and the 1901 map set shows they were being removed. A new brick building (the Wallace Block) was replacing one of them. By the time the 1911 map set was being published, brick buildings were occupying both of the millinery business locations on Columbia Street and no millinery businesses were located there.
The reflection in the millinery shop window shows part of a sign or banner across the street. The second of the two close-up sections presents that sign or banner backwards so the printing on the banner is easier to read. It advertised _____RS & SCHINDLER, ____ING SHOP. The 1908 Randolph County directory listed a blacksmith by the name of Schindler. He wasn’t listed in the business section under “Blacksmiths,” but both the 1901 and 1911 map sets show a blacksmith shop across the street from the millinery shop and a very short distance to the west at 226 Oak Street. Because the photographer was facing the Walden building at an angle, the reflection in the window would have been showing the blacksmith shop that was across the street and somewhat farther west. The blacksmith building was west of a livery business in a wood frame building when the 1901 map set was published. By the time the 1911 map set was being prepared, that larger building had been replaced by a masonry structure housing a garage for automobile repair. The map set showed the garage and the blacksmith building with the same address, 226 Oak Street. That may have been a mapping error or they were part of the same business.
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/6234382368/in...
Copyright 2011-2018 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections..
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
GENERAL DESCRIPTION
PLEASE NOTE: -
“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.
“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.
27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).
Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.
This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.
A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.
Folio 5 verso (Original Folio 6 verso)
TRANSCRIPTION
(39)
que vis sit, audeat levare, vel carricare, aut levari vel carricari
facere aliquas mercationes cuius cunq conditionis existant infra Cul -
phum pro portando extra Culphum cum aliquo navigio armato, ex -
cepto auro et argento sup pena perdendi totum, qd fuerit carricatum
vel levatum in dictis navigiis armatis, de quo non potest fieri ulla
gran, vel remissio, aut predictorum revocato, sub pena dutum. C C .
pro quolibet pone te vel consentiente partem in contrarium. Et est
commisstim Cathevere, Capitaneo postarum, officialibus levantis
promisoribus Communis, et aliis officialibus contrabannorum q in -
quirant de contrafacientibus, et penas exigant habendo partem ut
de aliis sui officii : Et si fuerit accusator per quem sciatur veritas heat
medietatem, et sit de credentia : Et alia medietas dividatur inter Coe
et officiales primo invenientes.
(40).Nostri rectores qui ad eorum regimina cum aliquibus galies mercati
ire volverint, vel ab ipsis regiminibus remeare Venetias debeant cum
patronis in facto nabuli convenire quod si erit bene quidem, Alioqu
nos cum consiliariis nostris. & Capitibus de Iuadraginta p maiorem par -
tem nostrum debemus terminare quatum ipsi Rectores solvere debeant
Iam eundo q redeundo. Et si aliquis am basiator communis qui iret cum
dictis galeis vel rediret non audeat, nec debeat aliquis solvere pro
nabulo.
(41)Nullus pertonus galearum de mercato . S . Cypri. Alexandrie. Romanie
& Thane : ullo modo vel formo audeat per se vel alium recipere ut
recipi facere merces aliquas in galies sine bulleta nostrum officialium
in Venetiis, & extra Venetias sine Bulleta nostrorum Capitaneorum
sub pena libr mille parvorum pro quolibet contrafaciente, & qualibet
nice in suis propriis bonis, & ultra hoc sit primatus patronia Gale -
arum de mercato. Comiti vero : Patroni, posticii, & scribe dictarum
galeao, si contra fecerint in Levando seu levari faciendo mercatioes
Folio 5 Verso (Original Folio 6 verso)
POSSIBLE ENGLISH TRANSLATION
39. …...... want you to be, or to dare to raise or carry or make some lesser trade carrying acquisition conditions under Culphum for carrying out of Culphum with an armed boad, with the exception of gold and silver, upon pain of losing the whole of that which is carried or recovered from the vessels by the said armed men of which there can be no great number, or release of the aforesaid parts, under the penalty of the leaders 200 to put yourself in the place of any part of or with the consent of those to the contrary. And it is commissioned that Cathavere, the next captain, officer of the Levant promises the generals and other officials who, on the other hand enquire about opposing the penalties required on part of the others of his office, shall be the plaintiff, by whom it may be known, and if part of it be half of the truth, and that it be believed then the first and the other half be divided between the commune and the officials of the finding.
40. Our leaders who wish to go to their governments with their galleys or from the government for the markets must return to Venice when in fact junior patrons agree that it is indeed well, otherwise we, with our councelors, and the heads of the greater part of our dircetors must determine adequate, and they must now go and pay it back. And if anyone who was to go with the kind words of the common galleys or not dare to return then no man is bound to pay for the juniors.
41. No owners of the galleys for the markets of Cyprus, Alexandria Romania and Thane who have the capacity to operate in any way or form shall dare to be received on their own, or by any other document do without the wages of our officers in Venice and some in France, and Venice and beyond many of the small documents for any of our captains, opposed, under the penalty of the book and any of those like their own proper good men, and this is no longer the primacy of the patrons of the galleys of the market. The committee sais: the owner at the rear, and the cscribe of the said galley, if they have done well in relieving or lessening the performance of the merchants ….............
This collection of papers relate largely to the ropemaking business of the Haggie family. The history of Robert Hood Haggie can be traced back to 1789 when the Willington Ropeworks was founded by William & Edward Chapman. Messrs. Chapman were succeeded by Robert Hood Haggie. Following the death of Robert Hood Haggie his three sons took over responsibility for the business which also operated out of premises in Queen Street, Newcastle Upon Tyne. The company also had premises in Lime Street, London.
Brief histories of R. Hood Haggie & Son, manufacturers of hemp & wire rope & flexible steel hawsers, Willington, & Haggie Brothers, Hemp & Wire Rope Works, Gateshead, can be found in Tyneside Industries (Historical Publishing Co. 1889).
"Infinity" is a group exhibition of artists whose practices or aesthetics relate to the many facets of the infinite. The Vastness of this concept will be explored through painting, drawing, photography, and 3D multi-media installation. The subject matter as well as the medium will vary greatly. Some artists work may be a more literal representation of this subject, suggestive of such things as mathematics, space, time, technology, abstraction, pattern, or repetition, while others have chosen to address the opposite or "finite", such as fragility, mortality, the temporary, and even doomsday scenarios.
The show features original work by:
Ryan Travis Christian, Richard Colman, N. Dash, Noah Davis, Chris Duncan, Andreas Guerrero, Joseph Hart, Andy Diaz Hope, Xylor Jane, Butt Johnson, Chris Natrop, Aaron Noble, Hilary Pecis, Andrew Schoultz, and Ryan Wallace
Opening Reception Saturday, October 10th, 2009.
Show Run: October 10 - November 7, 2009
Image from 'A Lytell Geste of Robin Hode, with other ancient & modern ballads and songs relating to this celebrated yeoman. To which is prefixed his history and character, grounded upon other documents than those made use of by ... “Mister Ritson.” Edited by J. M. Gutch', 001726444
Author: HOOD, Robin.
Volume: 02
Page: 253
Year: 1847
Place: London
Publisher: Longman, Brown, Green & Longmans
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Photo credit: David Estrada/Grupo Creativo Naturaleza Secreta
Relates to UNDP-supported Green Climate Fund-financed project 'Coastal Resilience to Climate Change in Cuba through Ecosystem Based Adaptation' ("Mi Costa") www.adaptation-undp.org/GCF-Cuba
Cruising down the main street of Florida Beach, bumping into the fishing base and returning down the beach road makes one realize that the town is very narrow.
The penetrating sea is like a sharp sword, taking land from the fragile town and the houses.
Unfortunately, it is estimated that by 2050 Florida Beach will disappear from the sea and be stranded on muddy soil.
This is additional to the wear and tear suffered through the years from hurricanes, with Irma (2017) one of the most devastating.
Shrinkage isn't the only thing visible when walking its streets. The village is empty, closed houses abound, and it's almost rare to see villagers loitering.
“This is one of the places in Cuba where more evidence exists of coastline modification caused by climate change," says Isabel Cristina Marquez Ulloa, Coordinator of the 'Mi Costa' project.
With finance from the Adaptation Fund and support from UNDP, the 'Mi Costa' project aims to develop adaptation, and enhance the resilience of coastal ecosystems: corals, seagrasses and cedar forests.
The inclusion of communities in the area in the project is vital, because currently, among the most important problems, is the mismanagement of solid waste and environmental custodianship.
Restoring and caring for the coasts is crucial for ecosystems and people. Many villagers, although migrating to the municipality, intend to keep their work at the fishing base and continue this activity as the main source of income.
Florida Beach, which still retains part of its beauty and colour, is also a potential national and international tourist destination.
#proyectomicosta
(Hulbert Creeper trademarks later included "Ashtabula", "Smashproof", and "Red-Hed")
June 22, 1937
R. O. HULBERT CREEPER Filed Aug. 24. 1936
Patented June 22, 1937
Camera E. O. Ebert, Ashtabula, Ohio
Application August 24, 1936, Serial No. 97,67542
Claims:
My invention relates to mechanics creepers, i. e., low-lying wheeled carriages used by repairmen to propel themselves to points under automobiles and the like.
Objects of the invention are generally to provide a creeper construction which will be superior to those of the prior are in simplicity, economy of manufacture, and durability, particularly under stress of abnormal or accidental loads.
Creepers of the class to which the present invention belongs are generally subjected to hard use and abuse. It is not uncommon for them to be run over by automotive vehicles, and no prior art creeper of which I am aware is capable I of successfully withstanding the loads imposed by such accidents. The present invention contemplates a creeper so constructed that its parts will not become broken or separated from each other, but will yield without fracture, separation, loosening, or more than momentary distortion under such abnormal loads.' To this end the creeper frame is made, not of metal, which is objectionably expensive and permanently distortable, but of comparatively yieldable and resilient material like wood, preferably hardwood, (?) of such loads.
A further object of the invention is to provide a creeper of unusually low height with casters or supporting wheels of comparatively large size and hence of increased strength. As creepers have heretofore been constructed, the use of large casters has resulted in raising the bed of the creeper objectionably high, and, conversely, making the creeper low has required small, and hence fragile, casters to be used. By a novel disposition of the casters and a new arrangement of the frame and-other parts, I am able to mount an unusually low creeper on unusually large casters.
Additional important features of the invention 45 include certain novel relationships of the frame and other parts which cooperate with the particular materials in attaining the foregoing objects.
Other objects and advantages of the invention 50 will be evident from the following description of the invention in a particular form of embodiment which is at present preferred inasmuch as the same has been found to give satisfactory and reliable results in actual practice.
The invention is illustrated in the preferred form of embodiment by the accompanying drawing in which like reference characters designate the same part in the several views and in which:
Figure 1 is a perspective view of a creeper embodying the invention;
Fig. 2 is a cross section taken on the line 2-2 of Fig. 1; and
Fig. 3 is a longitudinal section taken on the line 33 of Fig. 1.
The creeper comprises a frame including side up rails 1, 1, formed preferably of hardwood or equivalent relatively yielding and resilient material. The frame is of generally rectangular shape, the side rails being connected by a plurality of cross members made of material similar to that of the side rails, including the head end member 2, the foot end member 3 and preferably a plurality of intermediate cross members 1, 5. To the several cross members, in the space between the side rails, there is screwed or otherwise secured a body board 6 on which the operator rests, back down, when using the creeper. The body board may be extended slightly beyond the head end member 2 to accommodate a head rest 7, which may comprise a thin base strip 8 of wood and a superposed pad 9 of sponge rubber or the like covered by a sheet iii of leather or the like.
The body board 6 is preferably made of plywood, since a thin sheet of this material provides all the strength and resilience of a much thicker integral board. To drain off water and other liquids which might fall upon the body board when the creeper is in use the board may be made somewhat narrower than the distance between the side rails I so that a space ii is provided between each edge of the body board and the adjacent side rail.
A caster or equivalent wheel means if mounts the creeper at each corner zone thereof. The 9 casters are of the usual type, including an attaching plate 13 and a pedestal or bracket is swiveled on the plate and carrying the axle on which the roller is journaled. A feature of the invention which I deem to be of importance consists in mounting the attaching plate is of each caster on the underside of the side rails, as shown in the drawing. Such mounting permits the use of relatively large, and hence rugged and durable caster assemblies, without objectionably increasing the height of the creeper. It is obvious that if the caster assemblies were mounted beneath the cross members the rollers would have to be of materially reduced diameter or the elevation of the creeper would be objectionably high. 4 The body board 1 is mounted directly on the cross members by wood screws or the like 15, and the cross members themselves are bolted or otherwise secured to the side rails as shown at 11.
To depress the level of the body board and for a purpose hereinafter explained, there is interposed between each side rail and the connected portion of each cross member a shim 11, which may be a block or a plurality of blocks of wood or the like.
The shims 11 may be conveniently made of the same plywood material of which the body board is made. The effect of using these shims is to depress the level of the body board and the level of the underside of each of the cross members.
The low disposition of the body board on which the operator rests permits the operator to propel himself with ease under low-slung vehicles, and the low disposition of the under surfaces of the cross-members brings these surfaces close to the ground.
As has been noted herein above, creepers are not uncommonly run ever by automotive vehicles. If the wheel of such a vehicle passes over the creeper which has been described, momentary no damage is done to the creeper. If the vehicle wheel passes transversely over, the creeper," say along the section line 2-2 of Fig. 1, the side rails and body board yield until intermediate cross members 4, 5, or the bolt heads or ends which project therefrom, engage the floor. The-spacing between cross members 4 and 5 is sufficiently short' to give the intervening length of side rail sufficient stiffness and strength to withstand the abnormal load. Substantially short spacings between the casters and the adjacent-cross members achieve the same effect. If the vehicle wheel passes diagonally across the creeper a combination of the {resistances just explained serves to withstand the abnormal weight. I have found by actual test that no accident involving passage of a heavy vehicle over the creeper, regardless of the direction taken by the vehicle wheel over the creeper, shims 11, the cross members may be made of 1 results in destruction, loosening, separation, or more than momentary deformation of the creeper parts.
The elevation of the side rails above the body 7 board provides a convenient abutment for the shoulders of the operator against which he may push to move the creeper laterally or diagonally when in use.
It will of course be understood that in place ofwooden bars originally of the thickness of the 7 combined cross bars and shims, as shown, rabmembers and the rails, as shown.
The disclosure of the invention in one preferred form of embodiment only is.for purposes of illustration and not limitation. It is to be understood that the invention is capable of embodiment in other' and modified forms, and all such modifications, to the extent that they incorporate the principles of the invention as defined .by the appended claims, are to be deemed within the scope and purview thereof.
I claim:
1. A creeper comprising a pair of longitudinal side rails, casters supporting said rails and mounted directly on the under surface thereof, cross members connecting the rails, shims interposed between the adjacent surfaces of said members and rails to space the members below the rails, and a body supported on the cross members between the rails.
2. A creeper comprising a pair of longitudinal side rails, casters supporting said rails on the ground and mounted on the rails so as to project below the under surface thereof, cross members connecting the rails, disposed beneath the rails, and having flat upper surfaces intermediate the rails, an occupant supporting body supported on the portions of the cross members intermediate the rails, and means engaged with the under surfaces of the rails spacing said intermediate portions of the cross members below the level of the rails and normally above the ground.
3. A creeper comprising a pair of longitudinal side rails, casters-supporting said rails on the ground and mounted on the rails so as to project below the under surface thereof, cross members connecting the rails, an occupant supporting body comprising a relatively thin and strong continuous sheet of plywood supported on the portions of Plywood supported on the cross members between the rails.
R. 0. HULBERT.
Historic documents relating to the German immigration to British Kaffraria in the 1850's, photographed in the Courtenay-Latimer Hall at the East London Museum, Eastern Cape, South Africa on July 7, 2008. Letter to Johann Friedrich Philipp Humpel, a German Settler who settled in Keiskammahoek, ordering him to take up title for the land allocated to him. Dated October 13, 1865.
The street art festival was the reason for my visit to Waterford this week. There was a lot to see and photograph making it difficult for me to describe the locations or the artists so if you want more information I suggest that you visit waterfordwalls.ie/
In general the local population appeared to be very excite about this year’s festival which is good.
For some strange some people, when the see me photographing something, assume that I support or approve of or that I am in someway responsible for what I am photographing. For example if I photograph a poster relating to a pro-life meeting then I am attacked for being a pro-life supporter [a few years ago I was physically assaulted].
During my recent visit to Waterford a gentleman placed his hand on my lens and accused me of supporting anti-social behaviour by photographing examples of streetart [actually he uses words that I cannot publish here]. At the time I did not realise that he badly marked the wide-angle lens that I was using at the time. When I reviewed my photographs on my return to the hotel I discovered that many photographs were unusable because of large greasy streaks on my 15mm lens and it took hours to fully clean it.