View allAll Photos Tagged replicator
Taken for the Macro Mondays Theme of "It's all about the shadows"
Some of the photos that have been photoshopped to have alternative shadows applied to the subject, and wondered if I could replicate this effect in Camera.
This is what I came up with using the setup below. Minor processing tweaks only were done in post.
HMM
replicated from: photos1.blogger.com/blogger/5983/2048/1600/blog - kittenwar - my entry.jpg
, as leeching it seems to cut in and out
The very strange Villaggio Mall, replicating the canals of Venice and piazzas of Lucca - amongst others - in a very Doha-typical artificial-but-fascinating (can't help but look) manner.
---
Villaggio Mall is a shopping mall located in the Aspire Zone in the west end of Doha, the capital city of Qatar. It is located on Al Waab street between the Hyatt Plaza and Sports City and has over 200 stores, including many famous brands in the U.S., U.K., Italian and German markets.[2][3][4]
Inside, the interiors are Italianate-themed both as an Italian hill town, but also with a 150-meter long indoor canal with gondolas.[5]
The Mall was partially re-opened on September 20, 2012, after meeting strict safety standards following the May fire that resulted in 19 lost lives. Portions of the mall remain closed as a result however, the food court, ice rink, movie theater, Carrefour hypermarket, and many stores are open for business with more opening as they are able to restock their shelves.
This image is the copyright of © Neil Holman. Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me for permission to use any of my photographs.
I set myself the challenge of making a completely brick built tri-fighter. There are parts that exist that can be used to provide some extra details, but I like the challenge of replicating the effect in bricks.
I’ve always had a soft spot for this model- I was always quite impressed with the 2005 version that used the click hinges to create the semi-circular ‘wings’ which seemed quite unconventional back then. LEGO traditionally includes a buzz droid minifig with their version, so in that spirit, I asked MisterShramp if he could design a buzz droid to accompany my design. And he really stepped up to the challenge!
I originally thought about using bionicle shoulder armour parts to create the central sphere, but I settled on this design after experimenting with a number of other spherical parts.
The next challenge was to find suitable parts to recreate the semi-circular wings. I went through a number of different ideas- but many of the parts I could find didn’t have the right radius to match the original design. In the end I used bricks with studs on 4 sides with a rigid hose through the middle. The curved tiles help maintain the shape.
After tackling those two challenges, all the other details were pretty intuitive, and the build is surprisingly sturdy too.
The colour scheme also went through a few revisions. Each illustration/ concept art/ scale model I could find had some variation of blue and grey. In the end I went for this pretty subtle pattern. Any thing busier tended to draw attention to the (unavoidable) gaps in the construction of the semi-circles.
Check out MisterShramp's flickr
and instagram if you haven't already- he's got a bunch of really interesting ideas and instructions for his builds too!
This image is the copyright of © Neil Holman. Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me for permission to use any of my photographs.
This was shot last week in Queescliff at the pilot pier on another one of those dull frustrating mornings. There had been a run of easterly winds over the previous week which left sea mist blotting out the morning sun and clearing into a fine day by half an hour past me packing up my gear.. I originally started off around at the harbour but the wind was causing too much movement across the moored boats so I wandered south along the beach and past the main pier before lobbing here. The actual pier itself is not accessible as it is still used by the port authority and it took a while to work out how to take the shot - without getting wet or cut up by barbed wire.
To complete the composition I cropped it into a roughly 6x7 format and washed out a lot of the color putting a blue grey color tone thorugh the image but keeping the timber stark white to aid in the lead out line. I also softened the sky considerably and darked the end of the pier and mid right hand side of the image to give the mind a bit of room to wander in the shot. Lastly I reduced the clarity across the pier planks (which are those annoying fibreglass ones now) to eliminate moire and clone stamped out the million or so dust spots that my sandbox kindly replicates on any image shot above f3.2.
“The Eye Moment photos by Nolan H. Rhodes”
“Theeyeofthemoment21@gmail.com”
“www.flickr.com/photos/the_eye_of_the_moment”
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws.”
Replicating a skull desk lamp found in MS Merchandising.
[low quality phone camera image]
Castle Towers, Sydney
Mutations = genetic, copying mistakes.
The progressive, evolution story
is one huge MISTAKE
which, ironically,
depends on MISTAKES
as its mechanism ...
Mistake
- upon mistake
- upon mistake
- upon mistake
So that the entire, human genome
is created from billions of mistakes.
If, after reading this, you still believe in the progressive evolution story - you will believe anything.
EVOLUTION .....
What is the truth about Darwinian, progressive (microbes to human) evolution?
Although we are told it is an irrefutable, scientific fact .....
the real fact is, as we will show later, there is no credible mechanism for such progressive evolution.
So what was the evolutionary idea that Darwin popularised?
Put simply ...
Darwin believed that there was unlimited variability in the gene pool of all living things, which would enable the transformation of the first, self-replicating, living cell, through many years of natural selection, into every living thing, including humans.
However, the changes possible were well known by selective breeders to be strictly limited.
This is because the changes seen in selective breeding are due to the shuffling, deletion and emphasis of genetic information already existing in the gene pool (micro-evolution). There is no viable mechanism for creating new, beneficial, genetic information required to create entirely new body parts ... anatomical structures, biological systems, organs etc. (macro-evolution).
Darwin rashly ignored the limits which were well known to breeders (even though he selectively bred pigeons himself, and should have known better). He simply extrapolated the strictly limited, minor changes observed in selective breeding to major, unlimited, progressive changes able to create new structures, organs etc. through natural selection, over an alleged multi-million year timescale.
Of course, the length of time involved made no difference, the existing, genetic information could not increase of its own accord, no matter how long the timescale. Natural selection can only select from what is available, i.e. what is already in the gene pool.
That was a gigantic flaw in Darwinism, and opponents of Darwin's ideas tried to argue that changes were limited, as selective breeding had demonstrated.
But because Darwinism had acquired a status more akin to an ideology than purely, objective science, belief in the Darwinian idea outweighed the verdict of observational and experimental science, and classical Darwinism became firmly established as scientific orthodoxy for nearly a century.
Opponents continued to argue all this time, that Darwinism was unscientific nonsense, but they were ostracised and dismissed as cranks, weirdoes or religious fanatics.
Finally however, it was discovered that the opponents of Darwin were perfectly correct - and that constructive, genetic changes (progressive, macro-evolution) require new, additional, genetic information.
This looked like the ignominious end of Darwinism, as there was no credible, natural mechanism able to create new, constructive, genetic information. And Darwinism should have been heading for the dustbin of history.
Darwin's idea that a single, celled microbe could transform itself into a human and every other living thing, through natural selection over millions of years, had always been totally bonkers. That it is, or ever could have been, regarded as a great 'scientific' theory, beggars belief.
However, rather than ditch the whole idea, the vested interests in Darwinism had become so great, with numerous, lifelong careers and an ideological agenda which had become dependant on the Darwinian belief system, a desperate attempt was made to rescue it from its justified demise.
A mechanism had to be invented to explain the origin of new, constructive information.
That invented mechanism was 'mutations'. Mutations are ... literally, genetic, copying MISTAKES.
The general public had already been convinced that classical Darwinism was a scientific fact, and that anyone who questioned it was a crank, so all that had to be done, as far as the public was concerned, was to give the impression that the theory had simply been refined and updated in the light of modern science.
The fact that classical Darwinism had been wrong all along, and was fatally flawed from the outset was kept quiet. This meant that the opponents of Darwinism, who had been right all along, and were the real champions of science, continued to be vilified as cranks and scorned by the mass media and establishment. Ideology and vested interests took precedence over common sense and proper science.
The new developments were simply portrayed as the evolution and development of the theory. The impression was given that there was nothing wrong with the idea of progressive (macro) evolution, it had simply 'evolved' and 'improved' in the light of greater knowledge.
A sort of progressive evolution of the idea of evolution.
This new, 'improved' Darwinism became known as Neo-Darwinism.
So what is Neo-Darwinism? And did it really solve the fatal flaws of the Darwinian idea?
Neo Darwinism is progressive, macro evolution - as Darwin had proposed, but based on the incredible idea that random mutations (accidental, genetic, copying mistakes) selected and preserved by natural selection, can provide the constructive, genetic information capable of creating entirely new features, anatomical structures, organs, and biological systems. In other words, it is macro-evolution based on a belief in the total progression from microbes to man through billions of random, genetic, copying MISTAKES, accumulated over millions of years.
However, there is no evidence for it whatsoever, and it should be classified as unscientific nonsense which defies logic, the laws of probability, the law of cause and effect and Information Theory.
Mutations are not good, they are something to be feared, not celebrated as an agent of improvement or progression.
The vast majority of mutations are harmful, they cause illness, cancer and deformities, which is not at all surprising. It is precisely what we would expect from mistakes.
If you throw a spanner into the works of a machine, you would be daft to expect it to improve the operation of the machine. However, evolutionists ignore such common sense and propose that something (which, similarly, would be expected to cause damage) caused billions of constructive improvements in complexity, design and function, ultimately transforming microbes into men, and every other, living thing.
The proof of the pudding is in the eating ....
Ironically, evolutionists fear mutations just as much as everyone else. You can bet your bottom dollar that you won't get evolutionists volunteering to subject themselves or their families to mutagenic agents in order to 'improve' humanity. You certainly won't get evolutionists deliberately going to live near chemical or nuclear plants - in order to give their idea of progressive evolution by mutations a helping hand. No way!
Evolutionists know perfectly well that mutations are very risky and are most likely to be harmful, certainly not something anyone should desire.
Yet, perversely, they still present them as the (magical) agent responsible for creating the constructive, genetic information which, they claim, progressively transformed the first living cells into every living thing that has ever lived, including humans. They present and teach that extraordinary belief as though it is an irrefutable fact.
If we don't believe the progressive evolution fantasy, or dare to question it, we are branded as unscientific, ignorant, uneducated, backward thinking cranks or fanatics.
Incredible!
I suppose, one way to try to stifle opposition to a crazy idea, is to insult or ridicule those who oppose it. The story of the 'Emperor's New Clothes' comes to mind.
It is understandable that people are sometimes confused, because they know that 'micro'-evolution is an observable fact, which everyone accepts. Evolutionists cynically exploit that confusion by citing obvious examples of micro-evolution such as: the Peppered Moth, Darwin's finches, so-called superbugs etc., as evidence of macro-evolution.
Of course such examples are not evidence of macro-evolution at all. The public is simply being hoodwinked and lied to, and it is a disgrace to science. There are no observable examples or evidence of macro-evolution and no examples of a mutation, or a series of mutations capable of creating new, anatomical structures, organs etc. and that really is a fact.
It is no wonder that W R Thompson stated in the preface to the 1959 centenary edition of Darwin's Origin of the Species, that ... the success of Darwinism was accompanied by a decline in scientific integrity.
Micro-evolution is simply the small changes which take place, through natural selection or selective breeding, but only within the strict limits of the built-in variability of the existing gene pool (existing, genetic information). Any constructive changes outside the extent of the existing gene pool requires a credible mechanism for the creation of new, beneficial, genetic information, that is essential for macro evolution.
Micro evolution does not involve or require the creation of any new, genetic information. So micro evolution and macro evolution are entirely different. There is no connection between them at all, whatever evolutionists may claim.
Once people fully understand that the differences they see in various dogs breeds, for example, are merely an example of limited micro-evolution (selection of existing genetic information) and nothing to do with progressive macro-evolution, they begin to realise that they have been fed an incredible story.
A dog will always remain a dog, it can never be selectively bred into some other creature, the extent of variation is constrained by the limitations of the existing, genetic information in the gene pool of the dog genus, and evolutionists know that.
To clarify further ...
Neo-Darwinian, macro evolution is the ludicrous idea that everything in the genome of humans and every living thing past and present (apart from the original genetic information in the very first living cell) is the result of an accumulation of billions of random, genetic copying mistakes..... mutations accruing upon previous mutations .... on and on - and on.
In other words ...
Neo-Darwinism proposes that the complete genome (every scrap of genetic information in the DNA) of every living thing, or that has ever lived, was created by an incredibly, long series of random mistakes added to previous, random mistakes.
If we look at the whole picture ...
we soon realise that what is actually being proposed by evolutionists is that, apart from the original information in the first living cell (and evolutionists have yet to explain how that original information magically arose?) - every additional scrap of genetic information for all - the biological features, anatomical structures, systems and processes that exist, or have ever existed in living things, such as:
skin, bones, bone joints, shells, flowers, leaves, wings, scales, muscles, fur, hair, teeth, claws, toe and finger nails, horns, beaks, nervous systems, blood, blood vessels, brains, lungs, hearts, digestive systems, vascular systems, liver, kidneys, pancreas, bowels, immune systems, senses, eyes, ears, complementary sex organs, sexual reproduction, sperm, eggs, pollen, the process of metamorphosis, marsupial pouches, marsupial embryo migration, mammary glands, hormone production, melanin etc. .... have been created from scratch, by an incredibly long series of small, accumulated and randomly, occurring mistakes ... i.e. a random mistake accruing upon a previous, random mistake - upon a previous, random mistake - upon a previous, random mistake - over and over again, billions of times.
This notion is so incredible, we must emphasise once again what it actually means -
It means that all the body parts, systems and biological processes of all living things are the result of literally billions of random, genetic MISTAKES, accumulated over many (alleged) millions of years. This amazing thing occurred from one, original, living cell, which, it is claimed (without any evidence), spontaneously arose, entirely of its own volition, from sterile matter, in some imagined, primordial, soup scenario (contrary to the well established and unfalsified Law of Biogenesis).
Consider this ...
If, for example, there is no genetic information (constructional instructions) for bones (or any other body part) in the alleged, original, living cell, how could copying mistakes of the limited information in such a single cell produce such entirely, new constructive information? That's right, it simply couldn't, it is sheer fantasy.
Incredibly, what we are asked to believe is that something like a vascular system, or reproductive organs, developed in small, random, incremental steps, with every step being the result of a copying mistake, and with each step being able to provide a significant survival or reproductive advantage in order to be preserved and become dominant in the gene pool. Utterly incredible!
If you believe that ... you will believe anything.
Even worse, evolutionists have yet to cite a single example of a positive, beneficial, mutation which adds constructive information to the genome of any creature. Yet they expect us to believe that we have been converted from an original, single living cell into humans by an accumulation of billions of beneficial mutations.
Conclusion:
Progressive, microbes-to-man evolution is impossible - there is no credible mechanism to produce all the new, genetic information which is essential for that to take place.
The progressive, evolution story is an obvious fairy tale presented as scientific fact.
However, nothing has changed - those who dare to question the new 'improved', neo-Darwinian version of progressive evolution are still portrayed as idiots, retards, cranks, weirdoes, anti-scientific ignoramuses or religious fanatics.
Want to join the club?
What about the fossil record?
The formation of fossils...
Books explaining how fossils are formed frequently give the impression that it takes many years of build up of layers of sediment to bury organic remains, which then become fossilised.
Therefore many people don't realise that this impression is erroneous, because it is a fact that all good, intact fossils require rapid burial in sufficient sediment to prevent decay or predatory destruction.
So, it is evident that rock containing good, undamaged fossils was laid down rapidly, sometimes in catastrophic conditions.
The very existence of intact fossils is a testament to rapid burial and sedimentation.
You don't get fossils from slow burial. Organic remains don't just sit around on the sea bed, or elsewhere, waiting for sediment to cover them a millimetre at a time, over a long period.
Unless they are buried rapidly, they would soon be damaged or destroyed by predation and/or decay.
The fact that so many sedimentary rocks contain fossils, indicates that the sediment that created them was normally laid down within a short time.
Another important factor is that many large fossils (tree trunks, large fish, dinosaurs etc.) intersect several or many strata (sometimes called layers) which clearly indicates that multiple strata were formed simultaneously in a single event by grading/segregation of sedimentary particles into distinct layers, and not stratum by stratum over long periods of time or different geological eras, which is the evolutionist's, uniformitarian interpretation of the geological column.
In view of the fact that many large fossils required a substantial amount of sediment to bury them, and the fact that they intersect multiple strata (polystrate fossils), how can any sensible person claim that strata or, for that matter, any fossil bearing rock, could have taken millions of years to form?
What do laboratory experiments and field studies of recent, sedimentation events show? sedimentology.fr/
You don't even need to be a qualified sedimentologist or geologist to come to that conclusion, it is common sense.
Rapid formation of strata - some recent, field evidence:
www.flickr.com/photos/101536517@N06/sets/72157635944904973/
What about the idea that radiometric dating confirms vast ages for the fossil record:
Carbon dating cannot be used for the claimed, long timescale assigned to fossils by evolutionists as the maximum age it can be used for is less than 50.000 years. Sedimentary rocks also cannot be dated radiometrically. Evolutionists have to rely on the odd occasion where there is an igneous rock intrusion into a sedimentary deposit to which they apply radiometric dating. However, the dates obtained this way are not reliable, for the reason outlined below:
"As regards radiometric dating, I refer to Prof. Aubouin, who says in his Précis de Géologie: "Each radioactive element disintegrates in a characteristic and constant manner, which depends neither on the physical state (no variation with pressure or temperature or any other external constraint) nor on the chemical state (identical for an oxide or a phosphate)."
Rocks form when magma crystallizes. Crystallisation depends on pressure and temperature, from which radioactivity is independent. So, there is no relationship between radioactivity and crystallisation.
Consequently, radioactivity doesn't date the formation of rocks. Moreover, daughter elements contained in rocks result mainly from radioactivity in magma where gravity separates the heavier parent element, from the lighter daughter element. Thus radiometric dating has no chronological signification." Dr. Guy Berthault www.sciencevsevolution.org/Berthault.htm
All creatures and plants alive today, which are found as fossils, are the same in their fossil form as the living examples, in spite of the fact that the fossils are claimed to be millions of years old. So all living things today could be called 'living fossils' inasmuch as there is no evidence of any evolutionary changes in the alleged multi-million year timescale. The fossil record shows either extinct species or unchanged species, that is all.
When no evidence is cited as evidence:
www.flickr.com/photos/101536517@N06/15157133658
The Cambrian Explosion.
Trilobites and other many creatures appeared suddenly in some of the earliest rocks of the fossil record, with no intermediate ancestors. This sudden appearance of a great variety of advanced, fully developed creatures is called the Cambrian Explosion. Trilobites are especially interesting because they have complex eyes, which would need a lot of progressive evolution to develop such advanced features However, there is no evidence of any evolution leading up to the Cambrian Explosion, and that is a serious dilemma for evolutionists.
Trilobites are now thought to be extinct, although it is possible that similar creatures could still exist in unexplored parts of deep oceans.
See fossil of a crab unchanged after many millions of years:
www.flickr.com/photos/101536517@N06/12702046604/in/set-72...
Fossil museum: www.flickr.com/photos/101536517@N06/sets/72157641367196613/
What about all the claimed scientific evidence that evolutionists have found for evolution?
The evolutionist 'scientific' method has resulted in a serious decline in scientific integrity, and has given us such scientific abominations as:
Piltdown Man (a fake),
Nebraska Man (a pig),
South West Colorado Man (a horse),
Orce man (a donkey),
Embryonic Recapitulation (a fraud),
Archaeoraptor (a fake),
Java Man (a giant gibbon),
Peking Man (a monkey),
Montana Man (an extinct dog-like creature)
Nutcracker Man (an extinct type of ape - Australopithecus)
The Horse Series (unrelated species cobbled together),
Peppered Moth (faked photographs)
The Orgueil meteorite (faked evidence)
Ida - the newly discovered (2009), hominid, 'missing link' (an extinct lemur),
Etc. etc.
Anyone can call anything 'science' ... it doesn't make it so.
All these examples were trumpeted by evolutionists as scientific evidence for evolution.
Do we want to trust evolutionists claims about scientific evidence, when they have such an appalling record?
Just how good are peer reviews of scientific papers?
www.sciencemag.org/content/342/6154/60.full
Want to publish a science paper?
www.nature.com/nature/journal/v434/n7036/full/nature03653...
www.nature.com/news/publishers-withdraw-more-than-120-gib...
Piltdown Man was even used in the famous, Scopes Trial as positive evidence for evolution.
Piltdown Man reigned for over 40 years, as a supreme example of evidence of human evolution, before it was exposed as a crudely, fashioned fake.
Is that 'science'?
The ludicrous Hopeful Monster Theory and so-called Punctuated Equilibrium (evolution in big jumps followed by long periods of stasis) were invented by evolutionists as a desperate attempt to explain away the lack of fossil evidence for evolution. They are proposed methods of evolution which, it is claimed, need no fossil evidence. They are actually an admission that the required fossil evidence does not exist.
The Piltdown Man fake... it survived as alleged proof of evolution for over 40 years in evolution textbooks and was taught in schools and universities, it survived peer reviews etc. and was claimed as irrefutable, scientific evidence for evolution at the famous Scopes Trial..
A pig, a horse and a donkey saga...
The pig ...
Nebraska Man, this was a single tooth of a peccary (a type of pig). It was trumpeted as scientific evidence for the evolution of humans, and highly imaginative, artist's impressions of an complete, ape-like man appeared in newspapers magazines etc. All based on a single tooth. Such 'scientific' evidence is enough to make any genuine, scientist weep.
The horse ....
South West Colorado Man, was based on another single tooth ... of a horse this time! ... also proclaimed as 'scientific' evidence for human evolution.
The donkey ...
The Orce Man saga - a tiny fragment of skullcap was presented to the media as a human ancestor, accompanied by the familiar hype and hullaballoo. Embarrassingly, a symposium planned to discuss this supposed, ape-man had to be cancelled at short notice when it was 'discovered' that it was most likely from a donkey!
But, even if it was human, such a tiny fragment of skull is certainly not any evidence of human evolution, as had been claimed.
Embryonic Recapitulation - The 19th century, evolutionist zealot Ernst Haeckel (who inspired Hitler's, Darwinian, master race policies) published fraudulent drawings of embryos, and his theory was enthusiastically accepted by evolutionists as proof of progressive evolution. Even after he was exposed as a fraudster, evolutionists still continued to use his fraudulent evidence in books and publications on evolution, including school textbooks, until very recently.
Archaeoraptor - A so-called, feathered dinosaur from the Chinese, fossil faking industry. It managed to fool credulous evolutionists, because it was exactly what they were looking for. The evidence fitted the wishful thinking.
Java Man - Dubois, the man who discovered Java Man and declared it a human ancestor ..... eventually admitted that it was actually a giant gibbon. However, that spoilt the evolution story which had been built up around it. So, evolutionists were reluctant to get rid of it and still maintained it was a human ancestor. It later turned out that Dubois had also 'forgotten' to mention he had found the bones of modern humans at the same site.
Peking Man, made up from monkey skulls which were found in an ancient, limestone burning, industrial site, where there were crushed monkey skulls and modern human bones. Drawings were made of Peking Man, but the original skull conveniently disappeared. So, that allowed evolutionists to continue to use it as evidence without fear of it ever being debunked.
The Horse Series - fossils of unrelated species cobbled together, They were from different continents and were in no way a proper series of intermediates, They had different numbers of ribs etc. and the very first in the line, is similar to a creature alive today - the Hyrax.
Peppered Moth - moths were glued to trees in order to fake photographs for the peppered moth evidence. They don't normally rest on trees in daytime. In any case, the selection of a trait which is part of the variability of the existing, gene pool, is NOT progressive evolution. It is just an example of normal, natural selection within limits, which no-one disputes.
The Orgueil meteorite, organic material, and even plant seeds, were embedded and glued into the Orgueil meteorite and disguised with coal dust to make them look like part of the original meteorite, in a fraudulent attempt to fool the world into believing in the discredited idea of spontaneous generation of life (abiogenesis), which is essential for progressive evolution to get started. The reasoning being that, if it could be shown that there was life in space, spontaneous generation must have happened there. And hence, abiogenesis could be declared by evolutionists as a scientific fact.
'Missing link' Ida - Hyped up by evolutionists (including the renowned, wildlife documentary, presenter Sir David Attenborough) in 2009 as a newly discovered, “missing link” of human evolution. This allegedly, 47-million-year-old fossil was discovered in Germany. However, it is now obvious that Ida is not evidence of primate (or human) evolution at all, it is simply an extinct type of lemur.
Is macro evolution even science? The honest answer to that question has to be an emphatic - NO!
The accepted definition of science is: that which can be demonstrated and observed and repeated. Progressive evolution cannot be proved, or tested; it is claimed to have happened in the past, and, as such, it is not subject to the scientific method. It is merely a belief, based primarily on preconceptions.
Of course, there is nothing wrong with having beliefs, especially if there is a wealth of evidence to support them, but they should not be presented as scientific fact. As we have shown, in the case of progressive evolution, there is a wealth of evidence against it. Nevertheless, we are told by evolutionist zealots that microbes-to-man evolution is a fact and likewise the spontaneous generation of life from sterile matter (so-called abiogenesis). They are deliberately misleading the public on both counts. Progressive evolution is not only not a fact, it is not even proper science.
You don't need a degree in rocket science to understand that Darwinism has damaged and undermined science.
However, what does the world's, most famous, rocket scientist (the father of modern rocket science) have to say?
Wernher von Braun (1912 – 1977) PhD Aerospace Engineering
"In recent years, there has been a disturbing trend toward scientific dogmatism in some areas of science. Pronouncements by notable scientists and scientific organizations about "only one scientifically acceptable explanation" for events which are clearly outside the domain of science -- like all origins are -- can only destroy the curiosity of those who must carry on the future work of science. Humility, a seemingly natural product of studying nature, appears to have largely disappeared -- at least its visibility is clouded from the public's viewpoint.
Extrapolation backward in time until there are no physical artifacts of certainty that can be examined, requires sophisticated guessing which scientists prefer to refer to as "inference." Since hypotheses, a product of scientific inference, are virtually the stuff that comprises the cutting edge of scientific progress, inference must constantly be nurtured. However, the enthusiasm that encourages inference must be matched in degree with caution that clearly differentiates inference from what the public so readily accepts as "scientific fact." Failure to keep these two factors in balance can lead either to a sterile or a seduced science. 'Science but not Scientists' (2006) p.xi"
And the eminent scientist, William Robin Thompson (1887 - 1972) Entomologist and Director of the Commonwealth Institute of Biological Control, Ottawa, Canada, who was asked to write the introduction of the centenary edition of Darwin's 'Origin', wrote:
"The concept of organic Evolution is very highly prized by biologists, for many of whom it is an object of genuinely religious devotion, because they regard it as a supreme integrative principle. This is probably the reason why the severe methodological criticism employed in other departments of biology has not yet been brought to bear against evolutionary speculation." 'Science and Common Sense' (1937) p.229
“As we know, there is a great divergence of opinion among biologists … because the evidence is unsatisfactory and does not permit any certain conclusion. It is therefore right and proper to draw the attention of the non-scientific public to the disagreements about evolution. But some recent remarks of evolutionists show that they think this unreasonable ......
This situation, where scientific men rally to the defence of a doctrine they are unable to define scientifically, much less demonstrate with scientific rigor, attempting to maintain its credit with the public by the suppression of criticism and the elimination of difficulties, is abnormal and unwise in science.”
Prof. W. R. Thompson, F.R.S., introduction to the 1956 edition of Darwin's 'Origin of the Species'
"When I was asked to write an introduction replacing the one prepared a quarter of a century ago by the distinguished Darwinian, Sir Anthony Keith [one of the "discoverers" of Piltdown Man], I felt extremely hesitant to accept the invitation . . I am not satisfied that Darwin proved his point or that his influence in scientific and public thinking has been beneficial. If arguments fail to resist analysis, consent should be withheld and a wholesale conversion due to unsound argument must be regarded as deplorable. He fell back on speculative arguments."
"He merely showed, on the basis of certain facts and assumptions, how this might have happened, and as he had convinced himself he was able to convince others."
"But the facts and interpretations on which Darwin relied have now ceased to convince."
"This general tendency to eliminate, by means of unverifiable speculations, the limits of the categories Nature presents to us is the inheritance of biology from The Origin of Species. To establish the continuity required by the theory, historical arguments are invoked, even though historical evidence is lacking. Thus are engendered those fragile towers of hypothesis based on hypothesis, where fact and fiction intermingle in an inextricable confusion."—*W.R. Thompson, "Introduction," to Everyman’s Library issue of Charles Darwin, Origin of Species (1958 edition).
"The evolution theory can by no means be regarded as an innocuous natural philosophy, but rather is a serious obstruction to biological research. It obstructs—as has been repeatedly shown—the attainment of consistent results, even from uniform experimental material. For everything must ultimately be forced to fit this theory. An exact biology cannot, therefore, be built up."—*H. Neilsson, Synthetische Artbildng, 1954, p. 11
Berkeley University law professor, Philip Johnson, makes the following points: “(1) Evolution is grounded not on scientific fact, but on a philosophical belief called naturalism; (2) the belief that a large body of empirical evidence supports evolution is an illusion; (3) evolution is itself a religion; and, (4) if evolution were a scientific hypothesis based on rigorous study of the evidence, it would have been abandoned long ago.”
DNA.
The discovery of DNA should have been the death knell for evolution. It is only because evolutionists tend to manipulate and interpret evidence to suit their own preconceptions that makes them believe DNA is evidence FOR evolution.
It is clear that there is no natural mechanism which can produce constructional, biological information, such as that encoded in DNA.
Information Theory (and common sense) tells us that the unguided interaction of matter and energy cannot produce constructive information.
Do evolutionists even know where the very first, genetic information in the alleged Primordial Soup came from?
Of course they don't, but with the usual bravado, they bluff it out, and regardless, they rashly present the spontaneous generation of life as a scientific fact.
However, a fact, it certainly isn't .... and good science it certainly isn't.
Even though evolutionists have no idea whatsoever about how the first, genetic information originated, they still claim that the spontaneous generation of life (abiogenesis) is an established scientific fact, but this is completely disingenuous. Apart from the fact that abiogenesis violates the Law of Biogenesis, the Law of Cause and Effect and the Second Law of Thermodynamics, it also violates Information Theory.
Evolutionists have an enormous problem with explaining how the DNA code itself originated. However that is not even the major problem. The impression is given to the public by evolutionists that they only have to find an explanation for the origin of DNA by natural processes - and the problem of the origin of genetic information will have been solved.
That is a confusion in the minds of many people that evolutionists cynically exploit,
Explaining how DNA was formed by chemical processes, explains only how the information storage medium was formed, it tells us nothing about the origin of the information it carries.
To clarify this it helps to compare DNA to other information, storage mediums.
For example, if we compare DNA to the written word, we understand that the alphabet is a tangible medium for storing, recording and expressing information, it is not information in itself. The information is recorded in the sequence of letters, forming meaningful words.
You could say that the alphabet is the 'hardware' created from paper and ink, and the sequential arrangement of the letters is the software. The software is a mental construct, not a physical one.
The same applies to DNA. DNA is not information of itself, just like the alphabet it is the medium for storing and expressing information. It is an amazingly efficient storage medium. However, it is the sequence or arrangement of the amino acids which is the actual information, not the DNA code.
So, if evolutionists are ever able to explain how DNA was formed by chemical processes, it would explain only how the information storage medium was formed. It will tell us nothing about the origin of the information it carries.
Thus, when atheists and evolutionists tell us it is only a matter of time before 'science' will be able to fill the 'gaps' in our knowledge and explain the origin of genetic information, they are not being honest. Explaining the origin of the 'hardware' by natural processes is an entirely different matter to explaining the origin of the software.
Next time you hear evolutionists skating over the problem of the origin of genetic information with their usual bluff and bluster, and parroting their usual nonsense about science being able to fill such gaps in knowledge in the future, don't be fooled. They cannot explain the origin of genetic information, and never will be able to. The software cannot be created by chemical processes or the interaction of energy and matter, it is not possible. If you don't believe that. then by all means put it to the test, by challenging any evolutionist to explain how genetic information (not DNA) can originate by natural means? I can guarantee they won't be able to do so.
It is true to say - the evolution cupboard is bare when it come to real, tangible evidence.
For example:
1. The origin of life is still a mystery, evolutionists have failed to demonstrate that the Law of Biogenesis (which rules out the spontaneous generation of life), and has never been falsified, is not universally valid.
2. They have no explanation of where the first, genetic information came from. Information Theory rules out an orign of such, constructive information by natural processes.
3. They assume (without any evidence) that matter is somehow intrinsically predisposed to produce life whenever the environmental conditions for life permit.
4. They deny that there is any purpose in the universe, yet completely contradict that premise by assuming the above intrinsic predisposition of matter to produce life, as though matter is somehow endowed with a 'blueprint' for the creation of life.
5. They have no credible mechanism for the increase of genetic information required for progressive evolution and increasing complexity.
6. They have failed to produce any credible, intermediate, fossil examples, in spite of searching for over 150 years. There should be millions of examples, yet there is not a single one which is a watertight example.
7. They regularly publish so-called evidence which, when properly examined, is discovered to be nothing of the sort: Example ... Orce Man (the skullcap of a donkey!).
8. They use dubious dating techniques, such as circular reasoning in the dating of fossils and rocks.
9. They discard any evidence - radiocarbon dating, sedimentation experiments, fossils etc. that doesn't fit the preconceptions.
10. They frequently make the claim that there has to be life on other planets, simply on the assumption (without evidence) that life spontaneously generated and evolved on Earth which they take it for granted is a proven fact.
11. They cannot produce a single, credible example of a genuinely, beneficial mutation, yet billions would be required for microbes to human evolution.
There is much more, but that should suffice to debunk the incessant hype and propaganda that microbes-to-human evolution is an established, irrefutable fact.
It should be enough to put an end to the greatest fraud that has been foisted on the public in scientific history.
Evolutionism is not science.
Science is the method through which theories are tested and re-tested. However, today evolution is guarded against such scrutiny and taught uncritically in our public schools. This pervasive defense of naturalism has led students to view Darwinism as the only accepted explanation for the diversity of life on Earth. This presentation will encourage critical thinking of scientific interpretations, and examine the bedrock evidence for the theory of evolution. www.youtube.com/watch?v=ZE6hm2kpYiY&list=TLGGI4E1iBi7...
We are constantly told by evolutionists that the majority of scientists accept progressive evolution (as though that gives it credence) ... but most scientists, don't actually study evolution in any depth, because it is outside their field of expertise. They simply trust what they are taught in school, and mistakenly trust the integrity of evolutionists to present evidence objectively.
That is another great MISTAKE!
Evolutionism: The Religion That Offers Nothing.
1931 Cord L-29 La Grande Boattail Speedster Recreation
In my opinion, this “specimen” is the most beautiful American built roadster to have graced the annuals of the classic, antique world of wheels. Although a replication of the short lived 1931 Cord L-29 La Grande, Boattail Speedster, the flawless and meticulous engineering and attention to exacting details, make this car a classic in the truest sense. The striking paint colors alone suggest description from a professional interior decorator or a gourmet chef – “Royal Cranberry and Cashmere Cream”.
125 bhp, 298.6 cu. in. L-head inline eight-cylinder engine, front-wheel drive, three-speed selective sliding-gear manual transmission, 3/4-floating front live rear axles with leaf-spring suspension, and four-wheel hydraulic drum brakes. Wheelbase: 137.5"
• An exhaustively researched recreation of the lost L-29 La Grande Speedster
• Completed by California’s Tyree Brothers in 2004
• Multiple show awards and profiled in several publications
Inspired by Cornelius Van Ranst and Tommy Milton’s front-drive, Miller-powered 1927 Indianapolis 500 car, the L-29 pushed the boundaries of automobile technology and was the first production vehicle with hydraulic brakes and automatic Bijur chassis lubrication. A potential disadvantage: the long drivetrain package necessitated by the L-29’s inline eight-cylinder and front-drive system, which became one of the model’s greatest assets when designer Al Leamy sketched one of the longest hoods ever seen.
Introduced in the summer of 1929, the breathtaking new L-29 was offered in a wide variety of factory bodies. Although the devastating stock-market crash of 1929 was just around the corner, L-29 production totaled 5,010 cars, versus Cord’s original sales projection of 5,000 units. American and European custom coachbuilders naturally gravitated to the design possibilities offered by the low slung L-29 chassis, and 43 custom-bodied L-29s were ultimately created. Just 12 are known to exist today.
Philip O. Wright, a young designer who had been working for the Walter M. Murphy Company in Pasadena, which was responsible for some of the sportiest Duesenberg Model Js ever created, presented his sleek boattail speedster design proposal for the Cord L-29 to Auburn President Roy Faulkner, who authorized construction. The coachwork was built by Union City Body Company, part of E.L. Cord’s growing industrial complex, and the car’s design elements included aircraft-inspired “pontoon” fenders, a steeply-raked vee’d windshield, and such wonderful details as streamlined, teardrop-shaped blisters covering the door hinges. Completed in time for its debut at the New York Auto Salon in late-1931, the car was introduced as the La Grande Speedster.
Following the New York Salon, the La Grande Speedster was shown in Toronto, Canada and then at Cord dealerships throughout North America. Next, it was refreshed at the factory in Auburn, Indiana. Its slim Woodlite headlights, which were illegal in Europe, were replaced by standard, round headlights. It then departed for France, where it appeared with actress Suzy Vincent at the Paris Concours d’Elegance and achieved First Place, repeating the success of Count Alexis de Sakhnoffsky and his Hayes-bodied L-29 the prior year. At some point, an unproven but persistent connection between the La Grande Speedster and MGM movie producer Paul Bern, Jean Harlow’s husband, appeared. Equally mysterious, the La Grande Speedster disappeared in Europe and despite the best efforts of collectors, historians, restorers, and dealers over the intervening years, not the slightest hint of its fate has yet surfaced. Only one Cord L-29 was bodied with the Philip Wright’s dramatic La Grande Speedster coachwork. Lost in the mists of history, the La Grande Speedster is believed to have been lost during WWII, and today, it remains one of the true enigmas of the classic-car world.
That is, until Arnie Addison came along in 1995 and decided to make the dimly-remembered and long-sought Cord L-29 Front-Drive La Grande Speedster dream car a reality. Mr. Addison sought out every report and photo available and took them, along with an original L-29 chassis, engine, and drivetrain, to Greg and Jeff Tyree in Turlock, California. Guided by publicity photos published by the factory and made available by the ACD Museum, the Tyrees meticulously recreated the La Grande Speedster in every detail, and the chassis, grille, and front bumper were refurbished to exact factory specifications. Mr. Addison’s search for authenticity included locating an ACD Club member, Bill Kinsman, who had seen the Speedster at the 1931 New York Auto Salon and recalled its original colors of Royal Cranberry and Cashmere Cream.
Consuming some 20,000 person-hours of research and work, the Tyrees’ restoration project included many intricate and unique details that had to be re-created to meet Mr. Addison’s insistence on accuracy. These included a cigar rack hidden in the driver’s door and a bar set including two decanters in a similar compartment in the passenger door. The leather upholstery and dash were reproduced using the aforementioned factory photographs, and this car’s special dashboard knobs were modeled after those of the de Sakhnoffsky-designed L-29 Hayes Coupe. The car’s unique radiator ornament was created by a third Tyree brother, Mark, a sculptor. The “flathead” Lycoming straight-eight engine was lavishly detailed and painted Duesenberg Green. The dashboard was fitted with a reproduction Duesenberg-type altimeter and chronometer, as used by the original car. A working convertible top was meticulously constructed and then carefully fitted to fully disappear under a metal cover behind the seats. The windshield, door hardware, handles, and exterior door hinges were custom-designed only for this vehicle and were faithfully reproduced.
The nearly decade-long process was completed in 2004. The beautifully recreated La Grande Speedster enjoyed great success that year. It was displayed at such venues as Meadowbrook, Silverado, Art Center, Palo Alto, and the Auburn-Cord-Duesenberg Festival. At Silverado, the La Grande earned the Blue Ribbon and Most Popular Car awards, and it was judged by Cord experts as a 398 out of 400 points. In early 2007, it joined the collection of renowned collector John O’Quinn, until being acquired by the current owners.
The speedster has been featured in several prestigious national magazines, including the Robb Report Collection, the Auburn Cord Duesenberg Club Newsletter, and Hemmings Classic Car. In the July 2005 issue of Automobile magazine, renowned designer Robert Cumberford observed, “Always skeptical about re-creations, I was particularly severe in my analysis of form and line, and I compared early photographs with the car from the same angles. To me, this is the La Grande, down to the last curve and detail.” That is high praise indeed, from a demanding critic of design and execution.
According to my flickr friend, Steve Brown, the pictured car is now owned and on display at Stahl’s Automobile Museum in Chesterfield, Michigan. The “sister” car of this replication is owned and on display at the Auburn, Cord, Duesenberg museum in Auburn, Indiana. My picture of the latter 1931 Cord La Grande can be viewed here. To my knowledge these are the only two replications of the 1931 Cord L-29 LaGrande Boattail Speedsters known to exist in the world today.
objective- replicate a master photographer
subject- sandy
approach- Brought back most of the lights. wanted to make this look like a portrait. had the model look serious. Her head tilted and downwards.
Have you been led up the garden path of lies?
EVOLUTION .....
What is the truth about Darwinian, progressive (microbes to human) evolution?
Although we are told it is an irrefutable, scientific fact .....
the real fact is, as we will show later, there is no credible mechanism for such progressive evolution.
So what was the evolutionary idea that Darwin popularised?
Put simply ...
Darwin believed that there was unlimited variability in the gene pool of all living things, which would enable the transformation of the first, self-replicating, living cell, through many years of natural selection, into every living thing, including humans.
However, the changes possible were well known by selective breeders to be strictly limited.
This is because the changes seen in selective breeding are due to the shuffling, deletion and emphasis of genetic information already existing in the gene pool (micro-evolution). There is no viable mechanism for creating new, beneficial, genetic information required to create entirely new body parts ... anatomical structures, biological systems, organs etc. (macro-evolution).
Darwin rashly ignored the limits which were well known to breeders (even though he selectively bred pigeons himself, and should have known better). He simply extrapolated the strictly limited, minor changes observed in selective breeding to major, unlimited, progressive changes able to create new structures, organs etc. through natural selection, over an alleged, multi-million year timescale.
Of course, the length of time involved made no difference, the existing, genetic information could not increase of its own accord, no matter how long the timescale. Selection, natural or otherwise, doesn’t create any new, genetic information. It merely ‘selects’ from that which already exists.
That was a gigantic flaw in Darwinism, and opponents of Darwin's ideas tried to argue that changes were limited, as selective breeding had demonstrated. But because Darwinism had acquired a status more akin to an ideology than purely, objective science, belief in the Darwinian idea outweighed the verdict of observational and experimental science, and classical Darwinism became firmly established as scientific orthodoxy for nearly a century.
Opponents continued to argue all this time, that Darwinism was unscientific nonsense, but they were ostracised and dismissed as cranks, weirdoes or religious fanatics.
Finally however, it was discovered that the opponents of Darwin were perfectly correct - and that constructive, genetic changes (progressive, macro-evolution) require new, genetic information.
This looked like the ignominious end of Darwinism, as there was no credible, natural mechanism able to create new, constructive, genetic information. And Darwinism should have been heading for the dustbin of history,
However, rather than ditch the whole idea, because the vested interests in Darwinism had become so great, with numerous, lifelong careers and a naturalistic ideology entirely dependant on the Darwinian belief system, a desperate attempt was made to rescue it from its justified demise.
A mechanism had to be invented to explain the origin of new, constructive information.
That invented mechanism was 'mutations'. Mutations are ... literally, genetic, copying MISTAKES.
The general public had already been convinced that classical Darwinism was a scientific fact, and that anyone who questioned it was a crank. So, all that had to be done, as far as the public was concerned, was to give the impression that the theory had simply been refined and updated in the light of modern science.
The fact that classical Darwinism had been wrong all along, and was fatally flawed from the outset was kept quiet. This meant that the opponents of Darwinism, who had been right all along, and were the real champions of science, continued to be vilified as cranks and scorned by the mass media and establishment.
The new developments were simply portrayed as the evolution and development of the theory. The impression was given that there was nothing wrong with the idea of progressive (macro) evolution, it had simply 'evolved' and 'improved' in the light of greater knowledge.
A sort of progressive evolution of the idea of evolution.
This new, 'improved' Darwinism became known as Neo-Darwinism.
So what is Neo-Darwinism? And did it really solve the fatal flaws of the Darwinian idea?
Neo Darwinism is progressive, macro evolution - as Darwin had proposed, but based on the ludicrous idea that random mutations (accidental, genetic, copying mistakes) favoured by natural selection, can provide the constructive, genetic information capable of creating entirely new features, anatomical structures, organs, and biological systems. In other words, it is macro-evolution based on a belief in the total progress from microbes to human through billions of random, genetic, copying MISTAKES, over millions of years.
However, there is no evidence for it whatsoever. It should be recognised as unscientific nonsense which defies logic, the laws of probability and Information Theory.
Sometimes people are confused, because they know that 'micro'-evolution is an observable fact, which everyone accepts. It is a disgrace that evolutionists cynically exploit that confusion by citing obvious examples of micro-evolution, such as: the Peppered Moth, Darwin's finches, so-called superbugs etc., as evidence of macro-evolution.
Of course, such examples are not evidence of macro-evolution at all. The public is being hoodwinked and lied to, and it is a disgrace to science. There are no observable examples or evidence of macro-evolution and no examples of a mutation, or a series of mutations capable of creating new anatomical structures, organs etc. and that is a fact. It is no wonder that W R Thompson stated in the preface to the 1959 centenary edition of Darwin's Origin of the Species, that ... the success of Darwinism was accompanied by a decline in scientific integrity.
Micro-evolution is simply the small changes which take place, through natural selection or selective breeding, but only within the strict limits of the existing variability of the gene pool. Any constructive changes outside the extent of the existing, gene pool requires a credible mechanism for the creation of new, beneficial, genetic information. That is essential for macro evolution.
Micro evolution does not involve or require the creation of any new, genetic information. So micro evolution and macro evolution are entirely different things. There is no connection between them at all, whatever evolutionists may claim. Micro evolution is an observable fact. Macro evolution is an invented mechanism based on unsubstantiated assumptions.
Once people fully understand that the differences they see in various dogs breeds, for example, are merely an example of limited micro-evolution (selection of existing genetic information) and nothing to do with progressive macro-evolution, they begin to realise that they have been fed an incredible story.
A dog will always remain a dog, it can never be selectively bred into some other creature, the extent of variation is constrained by the limitations of the existing, genetic information in the gene pool of the dog genus, and evolutionists know that.
To explain further.... Neo-Darwinian, macro evolution is the ridiculous idea that everything in the genome of humans and every living thing past and present (apart from the original genetic information in the very first living cell) is the result of the accumulation of billions of genetic, copying mistakes..... an incredibly long, incremental line of mutations. Mutations built upon previous mutations ... on, and on and on.
In other words, Neo-Darwinism proposes that the complete genome (every scrap of genetic information in the DNA) of every living thing that has ever lived was created by a long accumulation of mistakes ... mistakes added to previous mistakes. Mistakes of mistakes, of mistakes, billions of times over.
If we look at the whole picture we soon realise that what is actually being proposed by evolutionists is that, apart from the original information in the first living cell (and evolutionists have yet to explain how that original information magically arose?) - every additional scrap of genetic information for all - the biological features, anatomical structures, systems and processes that exist, or have ever existed in living things, such as:
skin, bones, bone joints, shells, flowers, leaves, wings, scales, muscles, fur, hair, teeth, claws, toe and finger nails, horns, beaks, nervous systems, blood, blood vessels, brains, lungs, hearts, digestive systems, vascular systems, liver, kidneys, pancreas, bowels, immune systems, senses, eyes, ears, sex organs, sexual reproduction, sperm, eggs, pollen, the process of metamorphosis, marsupial pouches, marsupial embryo migration, mammary glands, hormone production, melanin etc. .... have been created from scratch, by an incredibly long series of small, accumulated mistakes.
That is ... every body part, system and process of all living things are the result of literally billions of genetic MISTAKES accumulated over many millions of years. Which means the complete genome of every living thing is one, MASSIVE MISTAKE. Wow! And they call that science?
What we are being asked to believe is that something like a vascular system, or reproductive organs, developed in small, random, incremental steps, with every step being the result of a copying mistake, and with each step being able to provide a significant survival or reproductive advantage in order to be preserved and become dominant in the gene pool. Incredible!
If you believe that ... you will believe anything.
Even worse, evolutionists have yet to cite a single example of a positive, beneficial, mutation which adds constructive information to the genome of any creature. Yet they expect us to believe that we have been converted from an original, single living cell into humans by an accumulation of billions of beneficial mutations (mistakes).
Conclusion:
Progressive, microbes-to-man evolution is impossible - there is no credible mechanism to produce all the new, genetic information which is essential for that to take place.
The evolution story is an obvious, fairy tale, cynically presented as scientific fact.
However, nothing has changed - those who dare to question Neo-Darwinism are still portrayed as idiots, retards, cranks, weirdoes, anti-scientific ignoramuses or religious fanatics.
Want to join the club?
What about the fossil record?
The formation of fossils.
Books explaining how fossils are formed frequently give the impression that it takes many years of build up of layers of sediment to bury organic remains, which then become fossilised.
Therefore many people don't realise that this impression is erroneous, because it is a fact that all good, intact fossils require rapid burial in sufficient sediment to prevent decay or predatory destruction.
So it is evident that rock containing good, undamaged fossils was laid down rapidly, sometimes in catastrophic conditions.
The very existence of intact fossils is a testament to rapid burial and sedimentation.
You don't get fossils from slow burial. Organic remains don't just sit around on the sea bed, or elsewhere, waiting for sediment to cover them a millimetre at a time, over a long period.
Unless they are buried rapidly, they would soon be damaged or destroyed by predation and/or decay.
The fact that so many sedimentary rocks contain fossils, indicates that the sediment that created them was normally laid down within a short time.
Another important factor is that many large fossils (tree trunks, large fish, dinosaurs etc.) intersect several or many strata (sometimes called layers) which clearly indicates that multiple strata were formed simultaneously in a single event by grading/segregation of sedimentary particles into distinct layers, and not stratum by stratum over long periods of time or different geological eras, which is the evolutionist's, uniformitarian interpretation of the geological column.
In view of the fact that many large fossils required a substantial amount of sediment to bury them, and the fact that they intersect multiple strata (polystrate fossils), how can any sensible person claim that strata or, for that matter, any fossil bearing rock, could have taken millions of years to form?
What do laboratory experiments and field studies of recent, sedimentation events show? sedimentology.fr/
You don't even need to be a qualified sedimentologist or geologist to come to that conclusion, it is common sense.
Rapid formation of strata - some recent, field evidence:
www.flickr.com/photos/101536517@N06/sets/72157635944904973/
All creatures and plants alive today, which are found as fossils, are the same in their fossil form as the living examples, in spite of the fact that the fossils are claimed to be millions of years old. So all living things today could be called 'living fossils' inasmuch as there is no evidence of any evolutionary changes in the alleged multi-million year timescale. The fossil record shows either extinct species or unchanged species, that is all.
When no evidence is cited as evidence:
www.flickr.com/photos/101536517@N06/15157133658
The Cambrian Explosion.
Trilobites and other many creatures appeared suddenly in some of the earliest rocks of the fossil record, with no intermediate ancestors. This sudden appearance of a great variety of advanced, fully developed creatures is called the Cambrian Explosion. Trilobites are especially interesting because they have complex eyes, which would need a lot of progressive evolution to develop such advanced features However, there is no evidence of any evolution leading up to the Cambrian Explosion, and that is a serious dilemma for evolutionists.
Trilobites are now thought to be extinct, although it is possible that similar creatures could still exist in unexplored parts of deep oceans.
See fossil of a crab unchanged after many millions of years:
www.flickr.com/photos/101536517@N06/12702046604/in/set-72...
Fossil museum: www.flickr.com/photos/101536517@N06/sets/72157641367196613/
What about all the claimed scientific evidence that evolutionists have found for evolution?
The evolutionist 'scientific' method has resulted in a serious decline in scientific integrity, and has given us such scientific abominations as:
Piltdown Man (a fake),
Nebraska Man (a pig),
South West Colorado Man (a horse),
Orce man (a donkey),
Embryonic Recapitulation (a fraud),
Archaeoraptor (a fake),
Java Man (a giant gibbon),
Peking Man (a monkey),
Montana Man (an extinct dog-like creature)
Nutcracker Man (an extinct type of ape - Australopithecus)
The Horse Series (unrelated species cobbled together),
Peppered Moth (faked photographs)
The Orgueil meteorite (faked evidence)
Etc. etc.
Anyone can call anything 'science' ... it doesn't make it so.
All these examples were trumpeted by evolutionists as scientific evidence for evolution.
Do we want to trust evolutionists claims about scientific evidence, when they have such an appalling record?
Just how good are peer reviews of scientific papers?
www.sciencemag.org/content/342/6154/60.full
Want to publish a science paper?
www.nature.com/nature/journal/v434/n7036/full/nature03653...
www.nature.com/news/publishers-withdraw-more-than-120-gib...
Piltdown Man and Nebraska Man were even used in the famous, Scopes Trial as positive evidence for evolution.
Piltdown Man reigned for over 40 years, as a supreme example of human evolution, before it was exposed as a crudely, fashioned fake.
Is that 'science'?
The ludicrous Hopeful Monster Theory and so-called Punctuated Equilibrium (evolution in big jumps) were invented by evolutionists as a desperate attempt to explain away the lack of fossil evidence for evolution. They are proposed methods of evolution which, it is claimed, need no fossil evidence. They are actually an admission that the required fossil evidence does not exist.
Piltdown Man... it survived as alleged proof of evolution for over 40 years in evolution textbooks and was taught in schools and universities, it survived peer reviews etc. and was used as supposed irrefutable evidence for evolution at the famous Scopes Trial..
_____________________________________________
A pig, a horse and a donkey!
The pig ....
Nebraska Man, this was a single tooth of a peccary. it was trumpeted as scientific evidence for the evolution of humans. Highly imaginative artists impressions of an ape-like man appeared in newspapers magazines etc.
Having been 'discovered' 3 years prior to the Scopes Trial, it was resurrected, and given renewed publicity, shortly before the trial - presumably, in order to influence the trial and convince the public of the scientific evidence for evolution.. Such 'scientific' evidence is enough to make any genuine, respectable scientist weep.
The horse ....
South West Colorado Man, another tooth .... of a horse this time... also presented as scientific evidence for human evolution.
The donkey ....
Orce man, loudly proclaimed by evolutionists to be scientific evidence of an early hominid, based on the discovery of a tiny fragment of skullcap. This is now believed to have most likely come from a donkey, but even if it was human. such a tiny fragment is certainly not any evidence of human evolution, as it was claimed. A symposium which had been planned to discuss this alleged human 'missing link' had to be embarrassingly cancelled when it was identified as being very similar to a donkey skull.
_________________________________________
Embryonic Recapitulation, the evolutionist zealot Ernst Haeckel (who was a hero of Hitler) published fraudulent drawings of embryos and his theory was readily accepted by evolutionists as proof of evolution. Even after he was exposed as a fraudster, evolutionists still continued to use his fraudulent evidence in books and publications on evolution, including school textbooks, until very recently.
Archaeoraptor, A so-called feathered dinosaur from the Chinese fossil faking industry. It managed to fool credulous evolutionists, because it was exactly what they were looking for. The evidence fitted the wishful thinking.
Java Man, Dubois, the man who discovered Java Man and declared it a human ancestor ..... admitted much later that it was actually a giant gibbon, however, that spoilt the evolution story which had been built up around it, so evolutionists were reluctant to get rid of it, and still maintained it was a human ancestor. Dubois had also 'forgotten' to mention that he found the bones of modern humans at the same site.
Peking Man, made up from monkey skulls which were found in an ancient limestone burning industrial site where there were crushed monkey skulls and modern human bones. Drawings were made of Peking Man, but the original skull conveniently disappeared. So that allowed evolutionists to continue to use it as evidence without fear of it ever being debunked.
The Horse Series, unrelated species cobbled together, They were from different continents and were in no way a proper series of intermediates, They had different numbers of ribs etc. and the very first in the line, is similar to a creature alive today - the Hyrax.
Peppered Moth, moths were glued to trees to fake photographs for the peppered moth evidence. They don't normally rest on trees in daytime. In any case, the selection of a trait which is part of the variability of the existing gene pool, is not progressive evolution. It is just normal, natural selection within limits, which no-one disputes.
The Orgueil meteorite, organic material and even plant seeds were embedded and glued into the Orgueil meteorite and disguised with coal dust to make them look like part of the original meteorite, in a fraudulent attempt to fool the world into believing in the discredited idea of spontaneous generation of life, which is essential for progressive evolution to get started. The reasoning being that, if it could be shown that there was life in space, spontaneous generation must have happened there and could therefore be declared by evolutionists as being a scientific fact.
Is macro evolution even science? The answer to that has to be an emphatic - NO!
The usual definition of science is: that which can be demonstrated and observed and repeated. Evolution cannot be proved, or tested; it is claimed to have happened in the past, and, as such, it is not subject to the scientific method. It is merely a belief.
Of course, there is nothing wrong with having beliefs, especially if there is a wealth of evidence to support them, but they should not be presented as scientific fact. As we have shown, in the case of progressive evolution, there is a wealth of evidence against it. Nevertheless, we are told by evolutionist zealots that microbes to man evolution is a fact and likewise the spontaneous generation of life from sterile matter. They are deliberately misleading the public on both counts. Evolution is not only not a fact, it is not even proper science.
You don't need a degree in rocket science to understand that Darwinism has damaged and undermined science.
However, what does the world's, most famous, rocket scientist (the father of modern rocket science) have to say?
Wernher von Braun (1912 – 1977) PhD Aerospace Engineering
"In recent years, there has been a disturbing trend toward scientific dogmatism in some areas of science. Pronouncements by notable scientists and scientific organizations about "only one scientifically acceptable explanation" for events which are clearly outside the domain of science -- like all origins are -- can only destroy the curiosity of those who must carry on the future work of science. Humility, a seemingly natural product of studying nature, appears to have largely disappeared -- at least its visibility is clouded from the public's viewpoint.
Extrapolation backward in time until there are no physical artifacts of certainty that can be examined, requires sophisticated guessing which scientists prefer to refer to as "inference." Since hypotheses, a product of scientific inference, are virtually the stuff that comprises the cutting edge of scientific progress, inference must constantly be nurtured. However, the enthusiasm that encourages inference must be matched in degree with caution that clearly differentiates inference from what the public so readily accepts as "scientific fact." Failure to keep these two factors in balance can lead either to a sterile or a seduced science. 'Science but not Scientists' (2006) p.xi"
And the eminent scientist, William Robin Thompson (1887 - 1972) Entomologist and Director of the Commonwealth Institute of Biological Control, Ottawa, Canada, who was asked to write the introduction of the centenary edition of Darwin's 'Origin', wrote:
"The concept of organic Evolution is very highly prized by biologists, for many of whom it is an object of genuinely religious devotion, because they regard it as a supreme integrative principle. This is probably the reason why the severe methodological criticism employed in other departments of biology has not yet been brought to bear against evolutionary speculation." 'Science and Common Sense' (1937) p.229
“As we know, there is a great divergence of opinion among biologists … because the evidence is unsatisfactory and does not permit any certain conclusion. It is therefore right and proper to draw the attention of the non-scientific public to the disagreements about evolution. But some recent remarks of evolutionists show that they think this unreasonable ......
This situation, where scientific men rally to the defence of a doctrine they are unable to define scientifically, much less demonstrate with scientific rigor, attempting to maintain its credit with the public by the suppression of criticism and the elimination of difficulties, is abnormal and unwise in science.”
Prof. W. R. Thompson, F.R.S., introduction to the 1956 edition of Darwin's 'Origin of the Species'
"When I was asked to write an introduction replacing the one prepared a quarter of a century ago by the distinguished Darwinian, Sir Anthony Keith [one of the "discoverers" of Piltdown Man], I felt extremely hesitant to accept the invitation . . I am not satisfied that Darwin proved his point or that his influence in scientific and public thinking has been beneficial. If arguments fail to resist analysis, consent should be withheld and a wholesale conversion due to unsound argument must be regarded as deplorable. He fell back on speculative arguments."
"He merely showed, on the basis of certain facts and assumptions, how this might have happened, and as he had convinced himself he was able to convince others."
"But the facts and interpretations on which Darwin relied have now ceased to convince."
"This general tendency to eliminate, by means of unverifiable speculations, the limits of the categories Nature presents to us is the inheritance of biology from The Origin of Species. To establish the continuity required by the theory, historical arguments are invoked, even though historical evidence is lacking. Thus are engendered those fragile towers of hypothesis based on hypothesis, where fact and fiction intermingle in an inextricable confusion."—*W.R. Thompson, "Introduction," to Everyman’s Library issue of Charles Darwin, Origin of Species (1958 edition).
"The evolution theory can by no means be regarded as an innocuous natural philosophy, but rather is a serious obstruction to biological research. It obstructs—as has been repeatedly shown—the attainment of consistent results, even from uniform experimental material. For everything must ultimately be forced to fit this theory. An exact biology cannot, therefore, be built up."—*H. Neilsson, Synthetische Artbildng, 1954, p. 11
Berkeley University law professor, Philip Johnson, makes the following points: “(1) Evolution is grounded not on scientific fact, but on a philosophical belief called naturalism; (2) the belief that a large body of empirical evidence supports evolution is an illusion; (3) evolution is itself a religion; and, (4) if evolution were a scientific hypothesis based on rigorous study of the evidence, it would have been abandoned long ago.”
Dr James Tour - 'The Origin of Life' - Abiogenesis decisively refuted.
youtu.be/B1E4QMn2mxk
To end with a more jocular quote, it has been said that:
"If Classical Darwinism is evolution by creeps and punctuated equilibrium is evolution by jerks, then neo Darwinism is evolution by freaks".
The real theory of everything
Perfectly Replicated.
First North Luzon Transit 232
Company/Owner: First North Luzon Transit, Inc.
Route: Hagonoy-Cubao
Area of Service: Bulacan, Central Luzon (R3)
Type of Service: PUB Provincial Operation Bus
Classification: Regular Airconditioned Bus
Coachbuilder: Hino Motors Philippines, Corp.
Remodelled by: Five Star Bus Body Meycauayan Shop
Model: Hino RK Grand-Echo II Replica
Chassis: RK1JMT
Engine: J08C-TK
Transmission: M/T
Speed: 6 Forward, 1 Reverse
Suspension Type: Leafspring
Seat Configuration: 2x3
Maximum Capacity: 61+2
Shot Location: Five Star Cubao Terminal, Montreal St., Brgy. E. Rodriguez Sr., Cubao, Quezon City
Date Taken: October 31, 2022
The aircraft was delivered to the United States Army Air Force on 19 June 1945 as 44-85784. In 1954 the Institut Géographique National in France bought the plane for use as a survey aircraft. In 1975 she moved to England and was registered with the CAA as G-BEDF to be restored to wartime condition. The ‘Sally B’ was used in the 1990 film Memphis Belle as one of 5 flying B-17s needed for various film scenes, and it was used to replicate the real Memphis Belle in one scene. Half of the aircraft is still in the Memphis Belle livery, following restoration of the ‘Sally B’ nose art and the black and yellow checkerboard pattern on the cowling of the starboard inner (no 3) engine, carried as a tribute to Elly Sallingboe’s companion Ted White, whose Harvard aircraft had the same pattern on its cowling.
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”
“The Eye Moment photos by Nolan H. Rhodes”
nrhodesphotos@yahoo.com
The Whithorn Trust’s reconstruction replicates the impressive 13.2 metre diameter of the excavated roundhouse and is over 9 metres tall in the centre, above the hearth, which consists of layers of pebbles, clay and a massive stone hearth, just like the original. You can visit the roundhouse and listen to a new audio visual documentary, in which the process of reconstruction is explained, and hear more from the excellent guides.
“The Eye Moment photos by Nolan H. Rhodes”
“Theeyeofthemoment21@gmail.com”
“www.flickr.com/photos/the_eye_of_the_moment”
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws.”
My photography class required us to try and replicate photographs from one of our favorite photographers. I chose Clement127 and I have yet to know if that was allowed, but there was nothing that said I couldn't, so I did. (Also, he's French; that immediately gives him cred.) I do have more of different images, but I just felt like sharing this small sample from just one image of his.
For this one, I went with the all the Phase I variants of Clone Troopers from The Clone Wars I had as opposed to the Rebels Stormtroopers Clement used. Can you name all 11 troopers I used?
(Some hints: Two are "custom" and the last one is nearly all out of frame, but he's orange.)
Here's his original photo for reference: LINK
Just a bit of fun...
There are 8 “scary” silhouettes in the windows. Can you find them?
Sorry - in my original title I said there were 7 silhouettes... my mistake - there are actually 8 :-)
The windows come from a snap I took out of a hotel window on Northumberland Ave, London, which I then replicated a few times. The silhouettes are thanks to Dave Lowe’s design work (www.davelowedesign.com/).
Equipment: Canon S100 @ 12.6mm, F4.5, 1/500sec, ISO 80.
I tried to replicate the colors of my Eastern Veil Nebula photo from last summer (minus the RGB stars), which is another part of the Cygnus Loop that Pickering's Triangle is in. Other than some misshapen stars I'm pretty satisfied with this image. Captured on May 30, June 1, 2, 6, 7, 12, July 11, 13, 14, 15, and 16th, 2020 from a Bortle 6 zone.
---
**[Equipment:](i.imgur.com/6T8QNsv.jpg)**
* TPO 6" F/4 Imaging Newtonian
* Orion Sirius EQ-G
* ZWO ASI1600MM-Pro
* Skywatcher Quattro Coma Corrector
* ZWO EFW 8x1.25"/31mm
* Astronomik LRGB+CLS Filters- 31mm
* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm
* Agena 50mm Deluxe Straight-Through Guide Scope
* ZWO ASI-120MC for guiding
* Moonlite Autofocuser
**Acquisition:** 17 hours 40 minutes (Camera at Unity Gain, -15°C)
* Ha- 56x600"
* Oiii- 50x600"
* Darks- 30
* Flats- 30 per filter
**Capture Software:**
* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.
**PixInsight Processing:**
* BatchPreProcessing
* SubframeSelector
* StarAlignment
* [Blink](youtu.be/sJeuWZNWImE?t=40)
* ImageIntegration
* DrizzleIntegration (2x, VarK=1.5
* DynamicCrop
* AutomaticBackgroundExtraction
* Deconvolution (EZ decon star mask used with self made lum mask)
* EZ denoise
* EZ soft stretch per channel
* ChannelCombination to combine Ha and Oiii (HOO > RGB)
* AutomaticBackgroundEXtraction
* Extract L > LRGBCombination (chrominance noise reduction
* [Curves](i.imgur.com/YcKQRqM.jpg)Transformations for lightness, hue and saturation
* ACDNR
* MMT noise reductiom
* LocalHistogramEqualization
* EZ Star reduction 2x
* HDRMultiscaleTransform (masked to apply to the brightest parts of the nebula)
* More curves
* Resample to 80%
* Annotation
“The Eye Moment photos by Nolan H. Rhodes”
“Theeyeofthemoment21@gmail.com”
“www.flickr.com/photos/the_eye_of_the_moment”
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws.”
Born "John Dillwyn Llewelyn" (12 January 1810 – August 1882) was a botanist and pioneer photographer.
He was born in Swansea, Wales, the eldest son of Lewis Weston Dillwyn and Mary Dillwyn (formerly Adams, née Llewellyn). Upon coming of age he inherited his maternal grandfather, John Llewelyn's estates of Penllergare and Ynysygerwn, near Swansea, and assumed the additional surname of Llewelyn. Educated privately he met, through his father who was a Fellow of the Royal Society and the Linnean Society, and at one time a member of Parliament, many of the eminent men of his time. These included Sir David Brewster, Michael Faraday and Charles Wheatstone. Lewis Weston Dillwyn had been sent to Swansea by his father William, to take over the management of the Cambrian Pottery, Swansea.
John's non-photographic exploits included assisting Wheatstone with the first ever experiments in sub-marine telegraphy, off the Mumbles, south Wales, powering a boat with an electric motor and creating the first private orchid house to replicate the original conditions of the plants in the South American jungles, complete with heated waterfall.
In 1833 he married Emma Thomasina Talbot, daughter of Thomas Mansel Talbot and Lady Mary Lucy, née Fox Strangways. Thomas was related to William Davenport Talbot and Mary was the sister of Elisabeth Talbot, the parents of William Henry Fox Talbot. Henry Talbot, through his botanic interests was a friend of Lewis Weston Dillwyn and spent some of his teenage years at Penrice, the home of the Welsh Talbots, also visiting Penllergare.
In January 1839, following the announcements of photographic processes by both William Henry Fox Talbot and Louis Jacques Mandé Daguerre, John himself began to experiment, with the encouragement of Henry Talbot. He tried all the processes available. His earliest daguerreotype is dated 1840. None of his early photogenic drawings seem to survive, but some thousand calotype and wet collodion negatives still exist together with albums in private and public collections and the branches of the family.
When the Royal Photographic Society was founded in 1853, John was one of those who attended the foundation meeting at the Society of Arts in London, and was, for some years, a founder Council member. He exhibited regularly in the early exhibitions of the Society as well as in Dundee, the Manchester Art Treasures exhibition and Paris in 1855. At this latter exhibition he was amongst those awarded a silver medal for his 'Motion' series.
In 1856 he announced his own oxymel process which allowed collodion negatives to be preserved over many days. This was hailed as a boon by the Illustrated London News of the period. He also took a number of stereo images using a camera he actually bought for his daughter Thereza's birthday in 1856.
His last images would appear to date from the end of the 1850s after which it is possible that his health prevented any further photographic activity. He never took his camera outside Britain, though the family frequently visited mainland Europe. The majority of his images were taken around his estate of Penllergare, near Swansea, and around the Welsh coast. There are also a number taken in Cornwall over several years, many in Bristol including some pioneer animal and bird images in Clifton Zoo, Yorkshire, Derbyshire and a few in Scotland. His circle of photographic friends included Philip Henry Delamotte, Robert Hunt, Hugh Welch Diamond and especially his distant relative Calvert Richard Jones. Another friend was Antoine Claudet with whom John was, in the 1840s, conducting experiments on the daguerreotype process, though what these were is unknown beyond diary references to their taking part. It is interesting that the leading London daguerreotypist should be assisted by the amateur John Dillwyn Llewelyn.
Though he never published any photographic books himself, he did contribute to The Sunbeam edited by his friend Philip Henry Delamotte and other books. His own publication, Picture of Welsh Scenery, due to be published by Cundall, seems never to have appeared.
John died in August 1882 at his London home, Atherton Grange, Emma having died the previous year, and both are buried at Penllergaer Church, originally built by John for his family and estate workers.
John's ancestors were both Welsh and American. His great great grandfather, William Dillwyn, had emigrated to north America in the 17th century and was granted land by William Penn. Descendants still live in the USA and the Parrish Art Gallery and Museum, on Long Island, was founded by a descendant.
John, through marriage, was related to Henry Talbot, and though his father's family to Richard Dykes Alexander, an Ipswich photographer yet to be researched. His sister Mary Dillwyn was an early woman pioneer. In a small notebook kept by John is a recipe for the calotype process sent to Mary by Robert Hunt in 184-, the final figure is missing. His daughter Thereza was also a prolific photographer and married Nevil Story Maskelyne. She and her father would go on joint photographic expeditions with John using his large format cameras and Thereza her birthday present stereo camera. A recent album of photographs by Mary and Thereza recently sold for £41,000! Others in the family, including his brother Lewis Llewelyn Dillwyn, also took photographs, some of which survive.
With thanks to Mike www.flickr.com/photos/7503563@N05/
This was a view which replicated all over Birmingham during the Inner Ring clearance in the 1960's. A street of condemned houses and shops, empty, with corrugated iron roughly nailed in place and somewhere in the mayhem one business clinging to the wreckage.
In this case it was Mr C F. Mason, Hairdresser of 113 Heath Street, a street which connects Dudley Road and Cranford Street. Mr Mason had been there since 1935, his shop front had received a makeover in the 1950s with new signage and the (then) trendy wood fascia, he had an electric barbers pole* which rotated and was also illuminated. His business catered for ladies permanent waves, colouring and bleaching as well as gents haircut's, generally a short back 'n' sides in the 1950's. The shop next door was C.A. Charleton, Electrical engineer at 115 and Chatwin's, boot repairers at 117.
Heath Street is still there today but a glance at Google Earth shows that poor Mr Mason eventually gave up, nothing recognisable now remains of the street he once knew.
*The traditional barbers pole with the red spiral on white represents a stylised slashed neck, dating from the "cut throat" razor era, charming!
Peter Shoesmith Circa 1963.
Copyright Geoff Dowling & John Whitehouse: All rights reserved
en.wikipedia.org/wiki/Beamish_Museum
Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.
The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.
The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.
History
Genesis
In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.
Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.
In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.
Establishment and expansion
In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.
The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.
In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.
With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.
At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.
In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.
Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.
Remaking Beamish
A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.
As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.
Museum site
The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.
Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).
Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).
Governance
Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).
Sections of the museum
1913
The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.
Tramway
The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.
The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.
Bakery
Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.
Motor garage
Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.
Department Store
Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.
Ravensworth Terrace
Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.
No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.
Pub
Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.
Town stables
Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.
Printer, stationer and newspaper branch office
Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.
Sweet shop
Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.
Bank
Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead
Masonic Hall
The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.
Chemist and photographer
Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.
Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.
Redman Park
Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.
Other
Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.
Unbuilt
When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.
Railway station
East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.
Rowley station
Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.
The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.
The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.
Signal box
The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.
Goods shed
The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).
Coal yard
The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.
The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.
Bridges and level crossing
The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).
Waggon and Iron Works
Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.
Other
A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.
Fairground
Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.
Colliery
Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.
Deep mine
Reconstructed pitworks buildings showing winding gear
Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.
The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.
Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.
Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.
Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).
Drift mine
The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.
Lamp cabin
The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.
Colliery railways
The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.
The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.
The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.
There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.
Other
On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.
Pit Village
Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.
Miner's Cottages
The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.
No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.
School
The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.
Chapel
Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.
Fish bar
Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.
Band hall
The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.
Pit pony stables
The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.
Other
Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.
Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.
In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.
The Georgian North (1825)
A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.
The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.
Pockerley Old Hall
The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.
Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).
Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).
To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.
The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).
Pockerley Waggonway
The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.
Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".
At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.
Wooden waggonway
Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.
St Helen's Church
St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.
The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.
While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.
Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.
Joe the Quilter's Cottage
The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.
Other
A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.
Farm (1940s)
Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.
The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.
The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.
The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.
The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).
The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.
Town (1950s)
As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.
The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.
As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.
Spain's Field Farm
In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.
1820s Expansion
In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.
There are also plans for 1820s industries including a blacksmith's forge and a pottery.
Museum stores
There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.
Open Store
Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.
Regional Museums Store
The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.
Transport collection
Main article: Beamish Museum transport collection
The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.
The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.
Agriculture
The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.
Regional heritage
Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.
In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.
Filming location
The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.
Visitor numbers
On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.
Awards
Museum of the Year1986
European Museum of the Year Award1987
Living Museum of the Year2002
Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015
Large Visitor Attraction of the Year (bronze)VisitEngland awards2016
It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.
Critical responses
In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."
According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".
Legacy
Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.
The unselective collecting policy has created a lasting bond between museum and community.
biennialfoundation.org/2016/12/biennials-four-fundamental...
Biennials: Four Fundamentals, Many Variations
By Terry Smith 07 Dec 2016
When we look back at the century plus history of recurrent survey exhibitions of contemporary art––those we call biennials, triennials, and (at Kassel, itself expanding) documentas––we can see that they slowly established a set of distinctive protocols, that were formalized during the 1980s, then rapidly replicated throughout the world, while at the same time steadily increasing in size and scope. It is also evident that, today, the distinctive characteristics of the biennial form are everywhere being exceeded, as they, like every other component of artworlds everywhere, fall subject to the current frenzy of code-switching. What were those protocols, the features that became distinctive and fundamental? I will identify four, and then note some of the ways in which they are changing.
Studies such as Charles Green and Anthony Gardner’s Biennials, Triennials, and Documentas: The Exhibitions that created Contemporary Art (2016), are giving us a nuanced understanding of the historical unfolding of the biennial form. Biennials have proliferated globally, in successive waves, according to the specific needs in different parts of the world, and to the interplay between them. The result is a dense field of mobility between artists, curators, gallerists, critics, collectors and visitors––especially on an international level––that is unprecedented in its quantity, scope, and variety. It is obvious that the biennial has become as structural to what is usually called “the artworld” in any particular place as every other element in what amounts to a visual arts exhibitionary complex. Secondly, it is precisely their core format, one that offers the reliable repetition of unpredictable difference, which secured their relevance, enabled their expansion, and may ensure their longevity. Third, biennials have become essential to contemporary art’s evidently international character, many would say its “globality,” although I will argue more specifically that they have been the primary platform of the transnational transitionality that has shifted the core locus of art making, distributing and valuing from used to be called the West, moved it South and then East, within regions of the these regions, and thus, now, everywhere. It is this in-transit energy that drives much contemporary art today, throughout the world and in most of the traditional and modern centers. Finally, biennials have also become structural to contemporary art’s very contemporaneity, reflecting its preferred forms in that they have become distributed events, in their localities and across the world. As such, they too are subject to the larger changes effecting communicative exchange everywhere, including network culture’s mediatization of the social.
1. Biennials have become structural within the contemporary visual arts exhibitionary complex
Biennials share with all exhibitionary formats the fundamental purpose of holding something out for inspection, of showing items––as the definition of the word “exhibition” (in English dictionaries, at least) tells us––publicly, for entertainment, instruction, or in a competition. Within the larger exhibitionary complex, these purposes characterize distinct kinds of displays, which are usually held in specialized venues: for example, music halls, public museums, or sporting fields. Annual artist society exhibitions, since their origins in France and England during the seventeenth century, have emphasized contestation between artists, attitudes, and genres as manifest in freshly-made works of art: competition to gain entry to the academy, competition for prizes, then competition for sales. Since Venice in 1895, and Pittsburgh’s Carnegie International from 1896, recurrent exhibitions all over the world have sought to fulfill all three purposes at once.
So, as the first fundamental but not unique characteristic of a visual arts biennial exhibition, we can establish this proposition: that it offers, in one place, a display of the contemporary art of the world in ways that are entertaining, instructive, and competitive, all at the same time. Doing all these things at once begins to distinguish them from exhibitions in art museums. Biennials are, crucially, exhibitionary events, as distinct from displays of the kind exemplified most clearly in the permanent collection rooms of a modern art museum (where continuity over time is emphasized, and change is understood as a modification or eruption within the evolutionary narrative of art’s history), and from temporary exhibitions in such museums (which usually explore in more detail and depth aspects of the history of art that are exemplified in a more general way in the collection display rooms––including the rooms that show the recent past as an opening towards an unspecified present). Being events, rather than primarily an assembly of art objects on display, is what makes biennials contemporary.
The logic and dynamic of the biennial differs from the core logic and dynamic of the modern art museum. Such museums alternate between relatively static displays of their permanent collections and a program of temporary exhibitions of artworks that usually, yet not always nor entirely, come from somewhere else, often from another museum or a private collection. Within this framework, the biennial occurs as an alternative to both the collection and the temporary exhibition, while at the same time having some features of both. (Some museums––notably the Carnegie Museum of Art, Pittsburgh, host to the Carnegie International, and the Queensland Gallery of Modern Art, host to the Asia Pacific Triennial––acquire works from biennials, often the prize-winning works, thus continually reshaping their collections.) During the boom years of the 1990s and 2000s, the controlled dynamic between collection and temporary exhibitions that previously prevailed at the modern museum was disrupted by the biennial, which regularly offered different models of what both the collection rooms and temporary exhibitions program might become. This is still an important effect of biennials in most cities in most parts of the world, and effect that is still unfolding. In contrast, in some cities, such as Sydney, that has mounted a Biennale since 1973, the local museums that regularly host biennials (the Art Gallery of New South Wales, and the Museum of Contemporary Art) have worked hard to absorb them into their programming, framing them as if they were temporary exhibitions that happen to be recurrent. My instinct is that, in such cases, we are seeing the modern museum working with, but also struggling against, the artworld expectation that today all art should be open to being experienced as contemporary. More broadly, museums and galleries of all kinds are widely expected to be spaces in which art can be experienced in ways continuous with the socially mediated prosumption of images that today is spreading across all exhibitionary platforms, actual and virtual.
2. Condensed contemporaneity, every two years
The simple fact of it occurring every two years has become the most widely adopted characteristic of a biennial. It is often forgotten that the Venice International Exhibition only became a biennial some years after 1895 (indeed, its organization was made systematic during the 1920s and 1930, the fascist years in Italy). Why has this rather mechanical, pragmatic aspect of staging big-scale exhibitions become so definitive? I suggest that it is because, while they occur every two years, and are in that sense repetitions, biennials offer difference each time. They must do this, because they are, usually, committed to showing contemporary art, or recent and past art in so far as it is relevant to contemporary circumstances. Contemporary art, by its own constant redefinition, is an art of becoming, of happenings, occurrences, and occasions. While its content may include material from any time, it is precisely because it typically engages with more than a single temporality at the same time that contemporary art requires the event as its form of appearance. When contemporary art is slowed down––for example, as part of a chronological history of art display in a museum, it ceases to be contemporary, although it maintains the distinctive character of having been contemporary within the contemporaneity that we still share with it. Artworks shown in biennials may be subsequently shown at art fairs, and may be acquired by museums, but, unlike most other exhibitionary venues, neither commerce nor historical valiance is their primary purpose or source of value. Rather, it is to show a purposeful selection from, or as wide a range as possible of, the art being made in the world right now. This is why biennials have––overwhelmingly, and, until recently, almost entirely––shown new, or at least recent work, and have favored work made for the occasion, and specifically for the site. It is this impulse that underlies the preponderance of new media, videos, and installations of various kinds, as well as their openness to research-based, archival, and “social practice” work that is less readily shown in museums and commercial galleries. Biennials share these preferences with not-for-profit, alternative art spaces.
In these ways, biennials typically concentrate contemporary energy in one place, or a related set of places, for a specified time. They are a double-sided form: reliable in their recurrence, but open-ended in their actualization. We do not know what art will be like two years from now, but we can expect that it will be different. Therefore, biennials can be counted on to build anticipation beforehand, and to surprise us when they happen. A regularly timetabled openness to contemporaneity––to art to come, whatever it may be––is the second most distinctive feature of biennials.
“The Cadillac ‘V’ and Crest interpreted in Sapphires and Diamonds by Black, Starr & Gorham, Inc.” [Image caption]
The 1960 Cadillac featured a significantly different, more refined design compared to the previous year, including a full-width grille, lower tailfins with oval-shaped lamp nacelles enclosing the stacked taillights and backup lamps, increased restraint in chrome trim, and fender-mounted directional indicators. Technical differences included finned rear drums, a different parking brake mechanism, and a tubular X-frame. The standard 390-cubic-inch V8 engine produced 325 horsepower in both 1959 and 1960. The styling was considered a "smoothed-down" and more restrained sequel to the 1959 model's "extravagant" design, with a cleaner overall aesthetic.
[Sources: YouTube, RMSothebys.com, and NotoriouLuxury.com]
“Beginning around the time of Cadillac’s golden anniversary in 1952, the division’s marketing department decided that including jewelry in their advertisements might help set the proper ‘upscale’ tone for selling GM’s top-of-the-line marque to the appropriate clientele. The jewelry replicated Cadillac’s V-shaped crest.” – Hemmings.com
Replicating the efforts of Stratford Depot, the GreaterAnglia 90 has been decorated with Union Flag, Silver Roof, and named 'Diamond Jubilee'.
Seen underneath the canopy at Liverpool Street, the formation will work the 12:00 to Norwich, with a Mk3b DVT on the far end.
The application of the Union Flag on the Great Eastern started with Stratford decorating two Class 47s for the Silver Jubilee (when I was only very young!!), and Anglia / CrownPoint continued the tradition with 86227 for the Golden Jubilee ( www.flickr.com/photos/steam60163/5554778131/in/set-721576... ).
This photograph shows part of the lovely hotel we stayed in on Boa Vista, Cape Verde on our recent holiday.
Highsmith, Carol M.,, 1946-, photographer.
American photographer Carol M. Highsmith, replicating, as well as possible, a pose at Yellowstone National Park in northwestern Wyoming by pioneer photographer Frances Benjamin Johnston, who inspired Highsmith's career
2015-09-14.
1 photograph : digital, tiff file, color.
Notes:
Title, date and keywords based on information provided by the photographer.
Though best known for her images of antebellum mansions and other scenes of the American South, Johnston had visited Yellowstone Park, where where posed below a rock outcropping for a photo (see LC-USZ62-120449), likely taken by her chauffeur; Johnston never learned to drive. With the help of National Park Service rangers on her own photo expedition to the park in 2015, Highsmith found the exact spot of the Johnston portrait and, in tribute, stopped to replicate the photo beneath the same outcropping. The ledge on which Johnston had posed had long ago been removed to make room for the steep wooden staircase down to the Lower Falls of the Yellowstone River.
Credit line: Gates Frontiers Fund Wyoming Collection within the Carol M. Highsmith Archive, Library of Congress, Prints and Photographs Division.
Gift; Gates Frontiers Fund; 2015; (DLC/PP-2015:069).
Forms part of: Gates Frontiers Fund Wyoming Collection within the Carol M. Highsmith Archive.
Subjects:
America--Frances Benjamin Johnston
United States--Wyoming--Yellowstone National Park.
Format: Digital photographs--Color--2010-2020.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Highsmith, Carol M., 1946- Carol M. Highsmith Archive. (DLC) 00650024
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/highsm.35394
Call Number: LC-DIG-highsm- 35394
“The Eye Moment photos by Nolan H. Rhodes”
“Theeyeofthemoment21@gmail.com”
“www.flickr.com/photos/the_eye_of_the_moment”
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws.”
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!
180/365
After camera club last night I decided on an impromptu trip to the Peak District. Looking at the weather forecast it was clear skies and very little wind. Ideal for a startrail shot or maybe the Milky Way would be prominent.
I set off and within minutes it was raining with dark brooding skies above. I knew the weather could change quickly in the Peaks so I carried on undeterred. Driving over the A53 Leek to Buxton road and I had a real job to see the road due to the low cloud, mist and rain. This was replicated at my destination, the base of Mam Tor.
I reclined my seat and shut my eyes for a few minutes hoping the weather was going to pass. Eventually the mist cleared and there was a faint glimmer of orange skies over to the west. I set off for the summit of Mam Tor but nothing really developed. The wind was also quite severe at times. It never cleared up and the con trails from the gazillion aircraft passing over meany it wasn't to be tonight.
So this was taken on my drive home. Con trails, light pollution and clouds included!
Day 180 done uber early :)
Little wonders on hidden street reveal different sided of a replicate piece of design. Interesting, and yet we just cross by it every day without realizing it's true beauty.
(article from the - Invermere Valley Echo newspaper, December 23, 2015) - Peterborough (now called Wilmer) quickly became a boom town as prospectors, eager to replicate Delphine’s success, flooded in and mines were established, with some lasting decades. The silver rush spread to other parts of the Kootenay region, creating other booms towns in Argenta, New Denver and, eventually the biggest find of all, the Sullivan Mine near Kimberley. The silver rush was at its height at about the same time the community changed its name, in 1902. Apparently having a small town called Peterborough in B.C. while at the same time having a larger town also called Peterborough in Ontario was cause for confusion in the Canadian postal system, so the postmistresses in Peterborough, B.C. was asked to come up with a new name for her community. At that time, everything, including the mail, came up-river from Golden on paddlewheel steamers. The mail got unloaded at Athalmer, which was called Salmon Flats then, and the postman would pick it up and bring it up to Peterborough. The postman’s name was Wilmer, so they would write Wilmer on all the mail going to Peterborough,” said Al. “So the postmistress decided just to rename the town Wilmer. That’s how Wilmer got its name. LINK to the complete article (Page A14 to A15) - issuu.com/blackpress/docs/i20151223044552666 another version on why Wilmer was chosen - The settlement, originally Peterborough, was changed in 1902 to honour Wilmer Wells provincial Minister of Public Works.
(from - Wrigley's 1918 British Columbia Directory) - WILMER - a post office and mining town on west bank of Columbia River, 70 miles south of Golden, and 4 north of Windermere Lake, in Columbia Provincial Electoral District. It was named after Wilmer Cleveland Wells (1840-1933) a rancher and lumberman who founded the place in the late 1890's.
The highest temperature officially recorded in Canada was at Wilmer, British Columbia: 115º F on - 19 June 1911.
The "PETERBOROUGH" Post Office was established - 1 May 1900; name changed to "WILMER" Post Office - 1 May 1902, possibly as required by Post Office Department, to avoid duplication with the much larger community of Peterborough, Ontario. A 1907 Marriage Licence was issued at Peterborough (BC Archives), but by WW I the community was well known as Wilmer. The WILMER Post Office closed - 19 March 1969.
Distributing point - Cranbrook and Golden
LINK to a list of the Postmasters who served at the PETERBOROUGH and WILMER Post Offices - www.bac-lac.gc.ca/eng/discover/postal-heritage-philately/...;
- arrival - / PETERBOROUGH / JUL 24 / (0)1 / B.C. / - split ring arrival backstamp - this split ring hammer (A1-1) was not listed in the Proof Book - it was most likely proofed c. 1900 - (RF E - now is classified as RF E3).
Addressed to: R. R. Bruce Esqr. / Peterborough / East Kootenay / B.C. /
Robert Randolph Bruce, who had arrived in the valley in 1885, established the Columbia Valley Irrigated Fruitlands Co. in 1911, which drew hundreds of gentlemen farmers from England and Scotland to the area with offers of low land prices and swift immigration. It was also Bruce who lobbied the provincial and federal governments for a highway to connect the valley with the east. Bruce’s determination to see the highway finished was rewarded in 1923 when the Banff-Windermere Highway was completed; meanwhile, the Kootenay Central Railroad had begun operating a regularly scheduled train service between Golden and Cranbrook in 1915. LINK to the complete article - www.cvchamber.ca/valley-history/
Robert Randolph Bruce (b. July 16, 1861 in Lhanbryde, Scotland — d. February 21, 1942 at age 80 in Montreal, Quebec, Canada) was the 13th Lieutenant-Governor of British Columbia from 1926 to 1931. Bruce was born in Scotland and educated at the University of Glasgow where he studied engineering. He emigrated to the United States in 1887 before arriving shortly afterward in Canada to work for the Canadian Pacific Railway surveying various new railway lines across the country. LINK to an article about R.R. Bruce - tobycreekadventures.com/history-of-the-paradise-mine/deve...
His occupations - engineer, mining proprietor
His profession - Politician, Diplomat
The Cloud Forest replicates the cool moist conditions found in tropical mountain regions between 1,000 metres (3,300 ft) and 3,000 metres (9,800 ft) above sea level, found in South-East Asia, Middle- and South America. It features a 42-metre (138 ft) "Cloud Mountain", accessible by an elevator, and visitors will be able to descend the mountain via a circular path where a 35-metre (115 ft) waterfall provides visitors with refreshing cool air.
The "cloud mountain" itself is an intricate structure completely clad in epiphytes such as orchids, ferns, peacock ferns, spike- and clubmosses, bromeliads and anthuriums. It consists of a number of levels, each with a different theme.
Acrylic marker and ink on paper 4.75" x 6.75" 2.12.2025. www.saatchiart.com/en-jp/art/Drawing-Self-replicating-Sur...
Some call it "Boxes", "Squares" "Dots" or even "Paddocks" but in my family we always called it "The Dot Game". A simple game that could be played with just a piece of paper and a pen.
Make a grid of dots, any dimension. Players take turns drawing horizontal and vertical lines connecting the dots. When you add the 4th side to a "box" you win ownership of that box and have to move again. We wrote down the first letter of our name to denote ownership. The game ends when all the dots have been connected and then you tally the totals to determine a winner. This game is great for kids and we even teach it in my kindergarten classroom. There is a great deal of strategy that can go into the play, but it is very simple and easy to learn.
Elliot (5 years old) and I played a few games with pen and paper the other day in the backyard. The next day he asked to play again. We made a "sketch" version out of Lego using a 32x32 baseplate, 1x1 round bricks for the dots. 1x4 bricks for the lines, and 2x2 round bricks for the markers. It was great fun! But we noticed some areas that could be improved - mainly that the dot kept falling off or being jostled when the "lines" were placed.
I went to bed that night thinking how the board could be improved. The key element in the build is the Support 1 x 1 x 6 Solid Pillar. The 6 brick depth of the element makes it possible for the "lines" to be easily placed and removed while the dots stay still.
Elliot and I worked together to build this. I designed modules for him to build and he replicated them in mass. He particularly liked making the 4x4 squares for the top surface and the drawers. We have lots of fun playing the game and he loves showing it off to his friends. Maybe this will be the first in a series of Lego board games for us? Let us know what game we might tackle next!
More generally, labyrinth might be applied to any extremely complicated maze-like structure. Herodotus, in Book II of his Histories, describes as a "labyrinth" a building complex in Egypt, "near the place called the City of Crocodiles," that he considered to surpass the pyramids:
It has twelve covered courts — six in a row facing north, six south — the gates of the one range exactly fronting the gates of the other. Inside, the building is of two storeys and contains three thousand rooms, of which half are underground, and the other half directly above them. I was taken through the rooms in the upper storey, so what I shall say of them is from my own observation, but the underground ones I can speak of only from report, because the Egyptians in charge refused to let me see them, as they contain the tombs of the kings who built the labyrinth, and also the tombs of the sacred crocodiles. The upper rooms, on the contrary, I did actually see, and it is hard to believe that they are the work of men; the baffling and intricate passages from room to room and from court to court were an endless wonder to me, as we passed from a courtyard into rooms, from rooms into galleries, from galleries into more rooms and thence into yet more courtyards. The roof of every chamber, courtyard, and gallery is, like the walls, of stone. The walls are covered with carved figures, and each court is exquisitely built of white marble and surrounded by a colonnade.
During the 19th century, the remains of this structure were discovered by Flinders Petrie at the foot of the pyramid of Amenemhat III at Hawara in the Faiyum Oasis. The Classical accounts of various authors (Herodotus, Strabo, Pliny the Elder, among others) are not entirely consistent, perhaps due to degradation of the structure during Classical times. In origin, the structure was likely a collection of funerary temples such as are commonly found near Egyptian pyramids.
In 1898, the Harpers Dictionary of Classical Antiquities described the structure as "the largest of all the temples of Egypt, the so-called Labyrinth, of which, however, only the foundation stones have been preserved."
Herodotus' description of the Egyptian Labyrinth inspired some central scenes in Bolesław Prus' 1895 historical novel, Pharaoh.
Although early Cretan coins occasionally exhibit branching (multicursal) patterns, the single-path (unicursal) seven-course "Classical" design without branching or dead ends became associated with the Labyrinth on coins as early as 430 BC, and similar non-branching patterns became widely used as visual representations of the Labyrinth – even though both logic and literary descriptions make it clear that the Minotaur was trapped in a complex branching maze. Even as the designs became more elaborate, visual depictions of the mythological Labyrinth from Roman times until the Renaissance are almost invariably unicursal. Branching mazes were reintroduced only when garden mazes became popular during the Renaissance.
In English, the term labyrinth is generally synonymous with maze. As a result of the long history of unicursal representation of the mythological Labyrinth, however, many contemporary scholars and enthusiasts observe a distinction between the two. In this specialized usage maze refers to a complex branching multicursal puzzle with choices of path and direction, while a unicursal labyrinth has only a single path to the center. A labyrinth in this sense has an unambiguous route to the center and back and presents no navigational challenge.Labyrinth is a word of pre-Greek, Minoan origin, which the Greeks associated with the palace of Knossos in Crete. It is also widely associated with the Lydian word labrys ("double-edged axe"), and since the double axe motif appears in the ruins at Knossos, it has been suggested that the original labyrinth was the royal Minoan palace in Crete. This designation may not have been limited to Knossos, because the same symbols were discovered in other palaces in Crete.The first ever organized group to officially call themselves Gnostics had lived on the island of Crete Cretan_Labyrinthand many other lands around the world for thousands of years. They were said to have come to Crete from Egypt with their Phoenician Prince Cadmus. According to Herodotus and Strabo, these people were originally known as the Phoenicians who accompanied Cadmus out of Phoenicia.The meaning of Cadmus is “he who came from the East.” These ancient Gnostics were known by several names over this long-span of time; such as the Curetes, Telchines, Ophites, Hivites, the Priests of Pan, and the Sons of Mizraim (Hebrew), meaning “Sons of Egypt.” In the bible they are called the Nephilim, the Sons of God, Sons of Abraham, and Sons of Noah who are the original Phoenician Hebrews and Israelites that created the esoteric gnostic literature masterpieces known as the Old and New Testament Bibles.Their symbols are the serpent, the bull, the ram and horns (hippocampus or ammon’s horn). They were the followers of the”The Sacred Serpent,” “The Sacred Bull,” “The Sun in Taurus,” “The Soul of Osiris,” and “The Retiring of the Bull.” These gnostics were also the original builders of the city of the Ram that we know of as Rome (Rama), by its founder Romulus (Ram-ulus). An interesting note is that this is the year 2015, the year of the Ram. It makes sense that the Romans (Ram-ans) originally came from Egypt and then Crete because of their reverence for the obelisk of Ramses II, and Caesar’s needle.It was on Crete where the Gnostic Sons of Egypt had built the ancient city of Gnosis that today is called Knossos (/ˈnɒsəs/; also spelled Knossus, Cnossus, Greek Κνωσός, pronounced [knoˈsos] ). The word Knossos is derived from the etymology of the word Gnosis. A word that simply means “know, knowledge, knowledgeable, knowingly, etc.,” and are derived from the Old Latin words, ‘Gnosoo,’ where we get the modern Latin word ‘novi’ which is a noun that means “actual knowledge which is the result of past learning,” and ‘noscos’ which is the present use of the verb ‘novi,’ and it denotes “to learn.”In the city of Gnosis they had built the world’s most famous Gnostic Labyrinth of Initiation ever known.reverence for the obelisk of Ramses II, and Caesar’s needle.
Labrys was a cult-word that was probably introduced from Anatolia, where such symbols have been found in Çatal Höyük from the Neolithic age. In Labraunda of Caria the double-axe accompanies the storm-god Zeus Labraundos (Ζεὺς Λαβρανδεύς). It also accompanies the Hurrian god of sky and storm Teshub (his Hittite and Luwian name was Tarhun).
Labrys, however, comes from Lydian, not Minoan, and the association of labyrinth with labrys remains speculative.[15] The Linear B (Mycenaean) inscription on tablet ΚΝ Gg 702 is interpreted as da-pu2-ri-to-jo, po-ti-ni-ja (labyrinthoio potnia, "Mistress of the labyrinth). The word daburinthos (labyrinthos) may show the same equivocation between initial d- and l- as is found in the variation of the early Hittite royal name Tabarna / Labarna (where written t- may represent phonetic d-). The original Minoan word, which is attested in Linear A tablets, appears to refer to labyrinthine underground grottoes, such as seen at Gortyn.[18] Pliny the Elder's four examples of labyrinths are all complex underground structures, and this appears to have been the standard Classical understanding of the word.
By the 4th century BC, the Greeks also associated the Labyrinth with the familiar "Greek key" patterns of endlessly running meanders.[20] Coins from Knossos were struck with the labyrinth symbol in the 5th through 3rd centuries BC. The predominant labyrinth form during this period is the simple seven-circuit style known as the classical labyrinth, and over time the term labyrinth came to be applied to any unicursal maze, which were typically rendered as circular or rectangular patterns.Silver coin from Knossos representing the Labyrinth, 400 BC. In Greek mythology, the Labyrinth (Greek: Λαβύρινθος labyrinthos) was an elaborate, confusing structure designed and built by the legendary artificer Daedalus for King Minos of Crete at Knossos. Its function was to hold the Minotaur, the monster eventually killed by the hero Theseus. Daedalus had so cunningly made the Labyrinth that he could barely escape it after he built it.
It was on Crete where the Gnostic Sons of Egypt had built the ancient city of Gnosis that today is called Knossos (/ˈnɒsəs/; also spelled Knossus, Cnossus, Greek Κνωσός, pronounced [knoˈsos] ). The word Knossos is derived from the etymology of the word Gnosis. A word that simply means “know, knowledge, knowledgeable, knowingly, etc.,” and are derived from the Old Latin words, ‘Gnosoo,’ where we get the modern Latin word ‘novi’ which is a noun that means “actual knowledge which is the result of past learning,” and ‘noscos’ which is the present use of the verb ‘novi,’ and it denotes “to learn.”
In the city of Gnosis they had built the world’s most famous Gnostic Labyrinth of Initiation ever known.
It was here in the city of Knossos where Sir Arthur Evans had discovered evidence of Europe’s oldest merchant people whom he called the ‘Minoans.’ A name that means the “Children of Jupiter”, with their King Minos (Jupiter). It is in this City of Gnosis that Evans had discovered the famous, and mysterious structure called “the labyrinth.”
The great inventor Daedalus was said to have designed the labyrinth, and the gnostic kings of CreteLabyrinth kept the great half man and half bull Minotaur in it. Here is Sir Arthur Evans explanation of the story of the labyrinth; “and the fondness of the Cretans for bull fights as the foundation of the legend of the Minotaur, while the tribute of the Athenians indicates the widespread power of the Cretan kings which extended over the whole Egean region. This dominance rested wholly on sea-power and was so great that the palace at Knossos was without walls and fortifications. The strong defence of the island state was evidently its fleet, and practically the whole intercourse of these Mediterranean lands was carried on by the Cretan ships.”When the Bronze Age site at Knossos was excavated by explorer Arthur Evans, the complexity of the architecture prompted him to suggest that the palace had been the Labyrinth of Daedalus. Evans found various bull motifs, including an image of a man leaping over the horns of a bull, as well as depictions of a labrys carved into the walls. On the strength of a passage in the Iliad,[21] it has been suggested that the palace was the site of a dancing-ground made for Ariadne by the craftsman Daedalus, where young men and women, of the age of those sent to Crete as prey for the Minotaur, would dance together. By extension, in popular legend the palace is associated with the myth of the Minotaur.
In the 2000s, archaeologists explored other potential sites of the labyrinth. Oxford University geographer Nicholas Howarth believes that 'Evans's hypothesis that the palace of Knossos is also the Labyrinth must be treated sceptically.' Howarth and his team conducted a search of an underground complex known as the Skotino cave but concluded that it was formed naturally. Another contender is a series of underground tunnels at Gortyn, accessed by a narrow crack but expanding into interlinking caverns. Unlike the Skotino cave, these caverns have smooth walls and columns, and appear to have been at least partially man-made. This site corresponds to an unusual labyrinth symbol on a 16th-century map of Crete contained in a book of maps in the library of Christ Church, Oxford. A map of the caves themselves was produced by the French in 1821. The site was also used by German soldiers to store ammunition during the Second World War. Howarth's investigation was shown on a documentary[ produced for the National Geographic Channel.
The etymology of the word labyrinth (labyrinthine or labyrinthian) is made of the three words, lab, ryne and thian. The meaning of lab is a building, part of a building, or other place equipped to conduct scientific experiments, tests, investigations, or to manufacture. This gave rise to the current definition of laboratory, and labor. The meaning of the word ryn or ryne is a course, race, a course of years, watercourse (blood course) and life. The meaning of the word thine or thian is heaven.
One of the rituals was known as the “Mistress of the Labyrinth” which was said to be the Phoenician and Greek view a gnostic prison of the soul is which the initiate has to battle the dreaded Minotaur in order to find their ways out of the massive maze. Very few people were known to have escaped from the Labyrinth to find true gnosis. The one who killed the Minotaur was the founder-king of Athens, Theseus. His name means The Zeus or The Jupiter.
The labyrinth rituals were symbolic to the illusions of the lower world through which wanders the soul of man in its search for truth. The Minotaur symbolizes man who is part animal and part divine as he moves down his path of gnosis as he is entangled in the maze of worldly ignorance that seeks to destroy his soul. The labyrinth is the building or temple of our bodies and heads in which we make sense of spiritual motion of the soul in our blood. It is the gnostic path of manmade mazes to our pasts that we search the many false courses to that one path of truth inside each one of us known as heaven.
moe-sword. The city where this plan would help take form, would be on the island of Crete which happens to be named after the Greek word Kriti (Kri-ti), which means ‘creation.’The meaning of the English word Cre’ate, is “to form out of nothing, to creo, creatum – cause to exist.” Hence, FIAT LUX. An island named after creation that also happens to be the home of one of the original “Ancient City of Gnosis and that today is called, Knossos.”
This great Cretan Gnostic labyrinth built by the Sons of Mizraim who were also known as the Nephilim would become the blueprints for our modern world that we see today. The ancient secret gnostic rites and initiations to gnosis would then become the base teachings of world-wid Alchemy, religious orders such as the Rosicrucians, Illuminati and many other secret orders.
Carving showing the warrior Abhimanyu entering the chakravyuha – Hoysaleswara temple, Halebidu, India
A design essentially identical to the 7-course "classical" pattern appeared in Native American culture, the Tohono O'odham people labyrinth which features I'itoi, the "Man in the Maze." The Tonoho O'odham pattern has two distinct differences from the classical: it is radial in design, and the entrance is at the top, where traditional labyrinths have the entrance at the bottom (see below). The earliest appearances cannot be dated securely; the oldest is commonly dated to the 17th century.The Chakravyūha or Padmavyūha is a multi-tiered defensive formation that looks like a blooming lotus (पद्म padma) or disc (चक्र chakra) when viewed from above.[1] The warriors at each interleaving position would be in an increasingly tough position to fight. The formation was used in the battle of Kurukshetra by Dronacharya, who became commander-in-chief of the Kaurava army after the fall of Bhishma Pitamaha.
The various vyūhas (military formations) were studied by the Kauravas and Pandavas alike. Most of them can be beaten using a counter-measure targeted specifically against that formation. It is important to observe that in the form of battle described in the Mahabharata, it was important to place powerful fighters in positions where they could inflict maximum damage to the opposing force, or defend their own side. As per this military strategy, a specific stationary object or a moving object or person could be captured, surrounded and fully secured during battle.
The formation begins with two soldiers on both sides, with other soldiers following them at a distance of three hands, drawing up seven circles and culminating in the end which is the place where the captured person or object is to be kept. In order to form the Chakravyuha, the commander has to identify soldiers who will form this formation. The number of soldiers to be deployed and the size of the Chakravyuha is calculated as per the resistance estimated. Once drawn, the foremost soldiers come on either side of the opponent to be captured, engage briefly and then advance. Their place is taken up by the next soldiers on either side, who again engage the opponent briefly and then advance. In this fashion, a number of soldiers pass the enemy and proceed in a circular pattern. By the time the rear of the formation arrives, the oblivious enemy is surrounded on all sides by seven tiers of soldiers. The last soldiers of the formation give the signal of completing the Chakravyuha. On the signal, every soldier who so far has been facing outwards turns inwards to face the opponent. It is only then that the captured enemy realizes his captivity. The army maintains the circular formation and can lead away the captive as well.
A prehistoric petroglyph on a riverbank in Goa shows the same pattern and has been dated to circa 2500 BC.[33] Other examples have been found among cave art in northern India and on a dolmen shrine in the Nilgiri Mountains, but are difficult to date accurately. Early labyrinths in India typically follow the Classical pattern or a local variant of it; some have been described as plans of forts or cities.
Labyrinths appear in Indian manuscripts and Tantric texts from the 17th century onward. They are often called "Chakravyuha" in reference to an impregnable battle formation described in the ancient Mahabharata epic. Lanka, the capital city of mythic Rāvana, is described as a labyrinth in the 1910 translation of Al-Beruni's India (c. 1030 AD) p. 306 (with a diagram on the following page).
By the White Sea, notably on the Solovetsky Islands, there have been preserved more than 30 stone labyrinths. The most remarkable monument is the Stone labyrinths of Bolshoi Zayatsky Island - a group of 13–14 stone labyrinths on 0.4 km2 area of one small island. These labyrinths are thought to be 2,000–3,000 years old.
Today the magical labyrinth would represent this whole world as we know it. I don’t know about you but I have almost found my way out of the maze by fighting my own Minotaur beast of a self to reach a place of heaven called gnosis. Hopefully, the kings in charge of the labyrinth haven’t deemed us all unworthy, and marked for death by closing the exit.The labyrinth can be a powerful tool for inner enhancement and development. It is designed specifically for this purpose. When walking the labyrinth, we find our perspective constantly changing. Our vision and physical bodies are never facing the same direction for long. This is a technique to coax our inner knowing out from within.
Further, the spiraling inward motion is a physical replication of our spiritual tendency to seek within the highest truths in order to find eternal freedom. When we are moving outward from the source, it is an action that we have made the divine connection and now we are expressing our completeness outwardly – essentially sharing our highest good with all around us.Secondary security in case of prison break. They wanted to make it hard to wake up their worst enemies. The system lords did not trust each other, so the Labyrinth was created to prevent any system lord from gaining access their worst enemies. Hades was entrusted to watch over it and knew that if he decided to take advantage of it, all System Lords would come down on him. Unfortunately that’s exactly what happened.Persephone was Hades’ Queen. She ruled over his kingdom while he was away, but was unable to hold on to it. As it collapsed, she hid in the prison ship to escape Hades’ enemies. She used the prison ship as her Palace towards the end because it was so easy to hide in. She brought along her lover, Daedalus, a young Go’auld subservient to Persephone with his own plans.The ship travels on what seems to be a series of random jumps from world to world. Daedalus set the ship to do this to escape Persephone’s enemies. But over time, it has been damaged by attacks from random raiders, other system lords that might have stumbled on it. So now the pattern Daedalus has set up is random and stuck. It must be repaired and the ship stabilized.The ship makes regular stops to pick up “prisoners” – the teleport run – and pick up supplies – teleport water and food stuffs from preprogrammed worlds Daedalus found rich of those resources.The Clans sent their worst political enemies, the strongest opponents to uninifcation, and their war criminals to the Labyrinth ship. They have also sent their harshest criminals and insane. All the clans believed that the sentence was worse then death and had no idea the truth behind the Temple of Persephone. There is a sampling of all the clans on the ship, surviving on the hydroponics bays they were able to acquire throughout the ship.
It is important to note that walking the labyrinth (mentally or physically) is not intended to be overly challenging. There are no dead-ends with the labyrinth, only meandering waves of smooth lines designed to gently nudge us back to our destination.
This is where labyrinths are often confused with mazes. Big difference. Mazes are designed to challenge intellect and strategic skills. Whereas the labyrinth is an exercise in soul development.
Generator 47 420 sits at Edinburgh Waverley on a Saturday night with 1C97 the 23.40 Edinburgh Waverley to Carstairs. This train was a 7 coach sleeper and seating portion for attachment to 1V61 23.55 Glasgow Central to Bristol Temple Meads at Carstairs.
(Not a quality image sadly as it was taken on Perutz CT100 slide film when night photography had a certain element of guess work, although I noted time exposures for night shots so I could go longer or shorter if replicated at a later date you then had to wait until the film was developed to see if you had got something usable or not. Oh for digital back then when you can now simply look at the image taken immediately ).
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!