La Défense (Paris)

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

Due to the restrictions of the Versailles treaties, the Reichswehr was already dealing with the increasing mobilization and motorization of the army after the end of the First World War. The realization that the speed of the troop units required appropriate equipment was available early on. However, the Reichswehr suffered from financial constraints and during the Weimar Republic the industry only had limited capacity for series production of larger, armored vehicles.

Only a total of fifty-five Sd.Kfz. 241s were completed by Magirus in Cologne until 1936, when production of the Sd.Kfz. 231 (8-Rad) vehicle family started and soon replaced the Sd.Kfz. 241, which was primarily operated at the Eastern Front in Poland and Czechoslovakia. By 1940, no Sd.Kfz. 241 was left in any frontline army unit, but a few survivors were grouped together and handed over to police units. Their main gun was either completely deleted or sometimes replaced with a second machine gun, and they were used for urban patrols and riot control duties. However, by 1942, no Sd.Kfz. 241 was left over.

Specifications:

Crew: Four (commander, gunner, driver, radio operator/rear driver)

Weight: 7.5 tons (11.450 lb)

Length: 5,85 metres (19 ft 2 in)

Width: 2,20 metres (7 ft 2 ½ in)

Height: 2,78 metres (9 ft 1 in)

Ground clearance: 28.5 cm (10 in)

Suspension: Torsion bar and leaf springs

Fuel capacity: 150 litres (33 imp gal; 40 US gal)

Armor:

8–15 mm (0.31 – 0.6 in)

Performance:

Maximum road speed: 70 km/h (43.5 mph)

52 km/h (32.3 mph) backwards

Operational range: 250 km (155 miles)

Power/weight: 13 PS/ton

Engine:

Maybach HL42 TRKM water-cooled straight 6-cylinder petrol engine with 100 hp (74 kW),

driving the rear pair of axles

Transmission:

Maybach gearbox with 5-speed forward and 4-speed reverse

Armament:

1× 37 mm KwK 30 L/45 cannon with 70 rounds

1× 7.92 mm MG 34 machine gun mounted co-axially with 1.300 rounds

The kit and its assembly:

This fictional armored car was inspired by a leftover rear axles from an Italeri Sd.Kfz. 231 (6-Rad) model that I converted into a fictional half-track variant some time ago. I wondered if the set could be transplanted under an 8-Rad chassis, to create a kind of missing link to the 8x8 successors of the Sd.Kfz. 231 (6-Rad) with a total of twelve tires on four axles.

The basis became a First to Fight 1:72 Sd.Kfz. 231 (8-Rad) kit – a rather simple and robust affair, apparently primarily intended for tabletop purposes. But the overall impression is good, and it would be modified, anyway, even though the plastic turned out to be rather soft/waxy and the parts’ sprue attachment points a bit wacky.

The hull was “turned around” to drive backwards, so that its rear engine ended up in the front. I eventually only used the rear twin wheels from the Sd.Kfz. 231 (6-Rad), but not its single axles and laminated springs. Instead, I first cut the OOB mudguards in two halves, removed their side skirts and glued them onto the lower hull in reversed order, so that the exhausts and their muffler boxes would end up at the rear of the front fenders. With these in place I checked the axles’ position from the OOB ladder chassis, which is a single, integral part, and found that the rear axles’ position had to be moved by 2mm backwards. Cutting the original piece and re-arranging it was easier to scratch a new rear suspension, and the rocker bars had to be shortened to accept the wider twin wheels.

The original small turret with the 20 mm autocannon was deleted and replaced with core elements from a Panzer III turret, left over from previous conversion projects. Wider than any original turret of the Sd.Kfz. 231/232 family, it had to be narrowed by roughly 5mm – I had to cut a respective plug from the turret’s and the mantlet’s middle section, the deformed hatch was covered under a Panzer III commander cupola. To mate the re-arranged turret with the OOB adapter plate to mount it onto the hull, and to add overall stability to the construction, I filled the interior with 2C putty.

The typical storage bin at the turret’s rear was omitted, though, it would have made it too large for the compact truck chassis. The shape was a perfect stylistic match, even though, with the longer gun barrel, the vehicle reminds a lot of the Soviet BA-10 heavy armored car?

Most small details like the bumpers and the headlights were taken OOB, I added a whip antenna base at the rear and mounted two spare wheels at the back, one of them covered with a tarpaulin (made from paper tissue drenched with white glue, this was also used to create the gun mantlet seals).

Painting and markings:

Typical for German vehicles from the early WWII stages the Sd.Kfz. 241 was painted Panzergrau (RAL 7021; I used Humbrol 67, which is authentic, but mixed it with some 125 to create a slightly lighter shade of grey) overall - quite dull, but realistic. To make the vehicle look more interesting, though, I added authentic contemporary camouflage in the form of low-contrast blotches with RAL 8017, a very dark reddish brown, mixed from Humbrol 160 and some 98. Better, but IMHO still not enough.

After the model received a washing with highly thinned red-brown acrylic artist paint I applied the few decals and gave the parts an overall dry-brushing treatment with grey and dark earth. Everything was sealed with matt acrylic varnish. For even more “excitement”, I decided to add a coat of snow.

For the simulated “frosting” I used white tile grout – which has the benefits of being water-soluble, quite sturdy to touch and the material does not yellow over time like gypsum.

First, the wheels, the chassis and the inside of the wheel arches received a separate treatment with relatively dryly mixed tile grout, simulating snow and dirt clusters. Once thoroughly dried, the wheels were mounted. Then the model was sprayed with low surface tension water and loose tile grout was drizzled over hull and turret, creating a flaky coat of fake snow. Once dry again, everything received another coat of matt acrylic varnish to protect and fixate everything further.

A relatively quick build, done in a few days. The First to Fight kit is very simple and went together well, but I’d use something else the next time due to the odd material it was molded with. The outcome of an 4x8 scout car looks quite plausible, though, like the missing link between the Sd.Kfz. 231 and 232 – the unintended similarity with the Soviet BA-10 heavy armored car was a bit surprising, though. And the snow on the model eventually makes it look a bit more interesting, the stunt was worth the effort.

Putting my new Olympus O M E1 Mkll through its paces.

Lens Olympus 7-14mm F2.8

The bulker Maine Dream, making a hard left turn with the assistance of the tug Millennium Falcon, lining up for the Southampton Shoal Channel.

San Francisco Bay

Collett & Sons Haulage Transporting Wind Turbine Blades through Braehead, the taffic lights have been folded down to avoid being damaged by the blades

Redding, California 2015

You are welcome to contact me regarding this photo or photography in general.

All rights reserved. You are welcome to share and show this to anyone and use it privately (as a wallpaper, share on Fb etc) but any commercial use or distribution of any kind will require written consent.

Stereo shot by Gwordn.Tripsa red Cyan Glasses required

The ship sails through rough North Atlantic waters along the Norwegian mountains.

After the end of the Viking Age and the transition into the early Middle Ages, ship technology in the North and Baltic Sea regions began to undergo significant development, closely associated with changing trade patterns, economic interests, and a growing network of maritime routes. Whereas Viking longships were primarily optimised for swift raids, coastal navigation, and agile manoeuvring, the following centuries brought forth the need for larger, more robust, and more capacious vessels, better able to withstand the harsh conditions of the North Atlantic and to transport goods over greater distances.

Especially from the Danish waters and the Hanseatic towns along the southern coast of the Baltic Sea—cities such as Lübeck, Rostock, and Wismar—trade routes were gradually established stretching northwards along the Norwegian coasts, onward to the Faroe Islands, Iceland, and in some cases even as far as Greenland. These journeys required ships capable of carrying large volumes of cargo, maintaining stability on open seas, and fitted with rigging that could exploit shifting winds. The result was a range of ship types, such as the knarr and the cog, developed and refined to meet these new demands.

With these more voluminous vessels, merchants, fishermen, and whalers could transport stockfish, hides, whale oil, and other valuable goods between the North Atlantic islands and continental Europe. Bergen in Norway became a crucial hub, where the German Hanseatic League, among others, established permanent trading offices (the Bryggen). From there, goods were redistributed to various European markets. At the same time, stations for seal hunting, whaling, and fishing were set up at strategic coastal locations, linking production areas with regional trading centres.

This evolution in ship technology and maritime infrastructure laid the foundation for a more integrated economy, where the sea was no longer merely a barrier but a vital artery connecting distant regions. It not only brought greater prosperity to the area, but also shaped a North Atlantic culture and commerce that would come to characterise the maritime world of the Middle Ages.

"Whispers of the North Sea Trade"

Beneath iron clouds and heaving tides,

Hulls strain in the grasp of chill winds,

Where once longships sliced the foam and fled,

Now broader decks bear the world’s finds.

Knarr and cog, stout of beam and keel,

Crafted in quiet, shaped by need,

Their sails yearn for far, wind-haunted isles,

Carrying more than gold or seed.

From Danish shores to Bergen’s quay,

These traders stitch distant coasts,

Binds of stockfish, hides, and oil,

Woven on oak where silence boasts.

No longer mere borders of surging brine,

The seas bend to commerce and skill,

Bridging green fjords and grey horizons,

Until distant ports stand still.

In rigging’s song and lantern’s glow,

A maritime age takes form,

Whales yield their oil, winds chart the course,

As nations meet beyond the storm.

Three Haikus:

Stout knarr on dark waves,

Whispered routes beneath grey skies,

Seas carry rich trade.

Cogs drift by damp quays,

Hanseatic tongues echo,

Goods flow like water.

Whale oil lamps glimmer,

In Bergen’s hushed evening gloom,

Masts fade into mist.

Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.

Vintage Map Illustrations.

Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1220494/vintage-maps-free-cc0-public-domain-images

Black hole sun

Won't you come

And wash away the stripes?

Making the "Rescue" variant of the Eagle is of course required, however, stripes in Lego are structural, so this isn't as easy as it looks.

Near the CNC dirt piles, Kelowna Rec Field, Kelowna, BC.

Getting this shot really required some effort!

A part of the chronic litter issue that is Chicago. When people have no respect for themselves or their city, this is what happens.............

The last five months (May-September 2023) required me to move a lot for a variety of professional and personal reasons. It was the first time in several years that I entered airplanes without carrying my DSLR camera. This resulted in me tinkering and thinking with my mobile phone camera, surpassing my snobbish attitude towards it as means of photographic expression. Visiting an old favourite antique store of mine, I was exposed to wallet-sized black and white pictures, very fashionable in the 1920s-1960s. Phenomenologically, I thought, these little pictures carried significance similar to the one carried by the myriads of photos nowadays stored on mobile phones. I tried to combine the sensory experience of black and white with the ease of mobile phone shooting, itself resembling certain types of pinhole cameras. Themes are the same as in my earlier photography: decayed and rusty patterns of disintegration, emptiness of spaces, outlier figures of the everyday, street signs and letters, nonhuman friends, naturecultures, and psychopolitically haunted scenes. Places include: Canada (Toronto), Greece (Athens, Thessaloniki, Aghia, Larissa, Eleftheroupoli, Kavala), Scotland (Edinburgh), France (Paris), Belgium (Brussels).

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

In the aftermath of the Second World War, Sweden required a strong air defense, utilizing the newly developed jet propulsion technology. This led to a pair of proposals being issued by the Saab design team, led by Lars Brising. The first of these, codenamed R101, was a cigar-shaped aircraft, which bore a resemblance to the American Lockheed P-80 Shooting Star. The second design, which would later be picked as the winner, was a barrel-shaped design, codenamed R 1001, which proved to be both faster and more agile upon closer study.

Nevertheless, the J 29D soldiered on, together with the rest of the J 29F and S 29C fleet, until 1970, even though not in front line duties anymore.

General characteristics:

Crew: 1

Length: 10.80 m (35 ft 4 1/2 in)

Wingspan: 11.0 m (36 ft 1 in)

Height: 3.75 m (12 ft 4 in)

Wing area: 24.15 m² (260.0 ft²)

Empty weight: 4,845 kg (10,680 lb)

Max. takeoff weight: 8,375 kg (18,465 lb)

Powerplant:

1× Svenska Flygmotor RM2B afterburner turbojet, rated at 6,070 lbf (27 kN)

Performance:

Maximum speed: 1,060 km/h (660 mph)

Range: 1,100 km (685 mi)

Service ceiling: 15,500 m (50,850 ft)

Rate of climb: 32.1 m/s (6,320 ft/min)

Armament:

4x 20mm Hispano Mark V autocannon in the lower front fuselage

Typically, a pair of 400-liter (106 US gallon) or 500-liter (132 US gallon) drop tanks was carried on the outer “wet” pylons

Further air-to-air ordnance initially consisted of 75 mm (3 in) air-to-air rockets, from 1963 onwards the J 29D could also carry up to 4x Rb 24 (AIM-9B Sidewinder) IR-guided air-to-air missiles.

Optionally (but never carried in service), the J 29D could also deploy a wide range of bombs and unguided missiles, including 145 mm (5.8 in) anti-armor rockets, 150 mm (6 in) HE (high-explosive) rockets or 180 mm (7.2 in) HE anti-ship rockets

The kit and its assembly:

Sweden is a prolific whiffing territory, and the Saab 29 offers some interesting options. The all-weather Tunnan was a real Saab project, and things actually got as far as the aforementioned radome shape test stage. But eventually the project was fully dropped, since Saab had been busy with standard J 29 production and conversions, so that this aircraft never materialized, just as the projected side-by-side trainer Sk 29 of the same era.

However, I recently came across a nice Saab 29 book which also covers some projects – including drawings of the radar-equipped Tunnan that never was. My converted model with the thimble radome and the raked air intake is based on these drawings.

The basic kit is the Heller Saab 29, which I deem superior to the Matchbox Tunnan, with its mix of raised and engraved panel lines and overall rather soft detail (despite the surprisingly nice cockpit). Anyway,, the Heller kit has its flaws, too, e. g. a generally weak material thickness, lack of locator pins or other stabilizing aids and some sinkholes here and there.

The kit was built mostly OOB, with as much lead in the gun tray as possible - and it actually stands on its own three feet/wheels! The only major change is the modified nose section. It sounds simple to graft a radome onto the Tunnan's nose, but the rhinoplasty was challenging. The whole front end had to be renewed, based on the profile drawings and sketches at hand.

The thimble radome is actually a recycled drop tank front end from a Hasegawa F6F Hellcat. The raked, lower aitr intake lip comes from a Matchbox Mystère IVA - but it lost its splitter, was reshaped and had the OOB air intake duct glued into place from behind. Once the intake was glued into its place, a wedge opeing was cut into the area in front of the canopy and the drop tank radome adapted to the gap, a step-by-step approach, since I wanted to have the radome slightly protrude into the airtake, but also keep a staright line in front of the windscreen.

Additional details include new pitots on the wing tips and some additional antennae. The heat shield for the afterburner engine is OOB, as well as the streamlined drop tanks and their pylons. I just added an additional pair of pylons (from an Acedamy MiG-23) to the inner wing, holding a pair of AIM-9Bs.

Painting and markings:

Finding a suitable, yet “different” scheme for the J 29 night fighter was not easy; most J 29 were left in bare metal, some carried dark green upper surfaces and some S 29C wore a paint scheme in olive green and dark blue. I eventually settled for the RAF style paint scheme that had been adopted with the J 30 Mosquito and J 33 Venom night fighters – not spectacular, but different from the Swedish early Sixties norm, and it subtly underlines the J 29D’s role.

The scheme was lent from RAF Venom night fighters (which was used on the Swedish J 33, too), and of the upper surfaces I used RAF tones, too: Humbrol 163 (Dark Green) and 165 (Medium Sea Grey). However, I did not want to use the grey on the lower surfaces, since I found that scheme a bit too uniform and British, so I painted the lower surfaces in NMF, with a waterline at medium height - higher than the camouflaged S 29C’s and lower than the early, camouflaged J 29A fighters (with an experimental all-green upper surface).

The bare metal finish was created with acrylic Aluminum (Revell 99) and Polished and Matt Aluminum Metallizer (Humbrol) added on top, highlighting single panels. Around the engine bay and the exhaust, a base with Iron (Revell 91) was laid down, with Steel Metallizer (Modelmaster) on top.

Under the wing tips, green formation markings (again Humbrol 163) were added, as well as black ID stripes (cut from generic decal sheet material). Other, Swedish adornment, like the roundels, codes or squadron markings, was taken from the OOB sheet, a PrintScale sheet for the J 29 and leftover decals from a Heller J 21.

Interior details were painted according to Swedish standard, thankfully there are many good pictures available. The cockpit interior became grey-green (Revell 67 comes very close to the real thing) with light grey dashboard and side consoles. The landing gear wells medium (Revell 57) grey with some dry-brushed Aluminum, while the wheel discs became grey-green, too.

An interesting result, through relatively little effort: the dog nose changes the look of the tubby J 29 a lot, it looks much sleeker and somewhat German now – but somehow also more retro than the original aircraft? The different paint scheme looks unusual, too, despite being relatively down-to-earth. This will certainly not be my last modified J 29, a two-seat trainer would certainly be another cool and reality based Tunnan whif?

by bkkfatty ift.tt/25oUDLn

Good looks

As a reminder, keep in mind that this picture is available only for non-commercial use and that visible attribution is required. If you'd like to use this photo outside these terms, please contact me ahead of time to arrange for a paid license.

Split-rail fence and log fence is a type of fence constructed out of timber logs, usually split lengthwise into and typically used for agricultural or decorative fencing. Such fences require much more timber than other types of fences, and so are not common in areas where wood is scarce or expensive. However, they are very simple in their construction, and can be assembled with few tools even on hard or rocky ground. They also can be built without using any nails or other hardware; such hardware was often scarce in frontier locations. They can even be partially or wholly disassembled if the fence needs to be moved or the wood becomes more useful for other purposes. During the Civil War, these split rail fences were a major source of firewood for both the Union and Confederate armies.

Log fence with double posts.

Split rail fences were made of easy to split, rot resistant wood. Traditionally American chestnut was the tree of choice until wire fencing became cheaper and the chestnut blight eliminated this tree. Currently, most split rails are made from cedar logs. Whether of chestnut or cedar, these logs were cut to a length of 10 to 12 feet (3.7 m) and split down the length of the log. Each half was then split into quarters, then eighths and so on until the rails were of a usable size. Depending on the diameter of the log, you could get 4 rails from an 8-inch (200 mm) log to over a dozen from larger logs. The pieces, called "rails," were stacked on top of one another. Most split rail fences had the rails stacked in an interlocking zig-zag fashion that is self-supporting, easy to create, easy to repair, and easy to disassemble.

A split-rail fence with supports.Some timber fences had the rails stacked directly on top of each other and secured them with double fence posts (one on either side of the rails). This made a more permanent and compact fence but remained easy to repair.

The length of a zig zag fence was such that the distance between either the zigs or the zags was 16½ feet or one rod. A landowner could then count the zigs or the zags along the side and end of his field and determine the number of square rods in a field which in turn told him how many acres the field contained. One hundred sixty square rods is 1-acre (4,000 m2), so a field ten rods times sixteen rods was an acre.

A split-rail fence in suburban America with wire fence cover, built 1999.A variation on the traditional split-rail fence has become common in suburban America in the late 20th century. This variation is not free-standing but consists of vertical posts with holes into which the ends of rough hewn horizontal pieces are placed. A common addition to this, particular where pets or children are involved, is a wire fence affixed to the inner or outer face of the split-rail fence.

Famous rail-splitters

Abraham Lincoln did a lot of rail splitting in his youth, as he needed the money. He was glad to get better work.

Some of his politician friends wanted to use Lincoln the rail-splitter as an election slogan.

Krewe of Okeanos parade

Mardi Gras 2018

New Orleans LA

Recent shot from Tophill Low.

Robin on - watch, and passing fly

Malahide Castle, parts of which date to the 12th century, lies, with over 260 acres (1.1 km2) of remaining estate parkland (the Malahide Demesne Regional Park), close to the village of Malahide, nine miles (14 km) north of Dublin in Ireland.

The Castle is one of the oldest in Ireland. From 1185 until 1975, it was the home of the Talbot family.

In 1169, at the time of the Anglo-Norman invasion, Malahide was under the control of Hammund Mac Turkill, the last Viking King of Dublin.

The estate began in 1185, when Richard Talbot, a knight who accompanied England’s King, Henry II to Ireland in 1174, was granted the "lands and harbour of Malahide".

The oldest parts of the castle date back to the 12th century and it was home to the Talbot family for 791 years, the only exception being the period from 1649-1660, when Oliver Cromwell granted it to Miles Corbet after the Cromwellian conquest of Ireland; Corbet was hanged following the demise of Cromwell, and the castle was restored to the Talbots.

The building was notably enlarged in the reign of England’s King, Edward IV, and the towers were added in 1765.

The estate survived such losses as the Battle of the Boyne, when fourteen members of the owner's family sat down to breakfast in the Great Hall, and all were dead by evening, and the Penal Laws, even though the family remained Roman Catholic until 1774.

Malahide Castle and Demesne was eventually inherited by the seventh Baron, Lord Milo Talbot and on his death in 1973, passed to his sister, Rose. In 1975, Rose sold the castle to the Irish State, partly to fund inheritance taxes.

The Castle, along with its subsidiary attractions, is operated as a tourist attraction by Dublin Tourism, working with Fingal County Council, which oversees the Castle Demesne.

The main castle can be visited for a fee, on a guided-tour-only basis. In addition, it is possible to hire the famously gothic Great Hall for private banquets. The castle has an eating facility, and adjacent is a craft shop. The castle's best-known rooms are the Oak Room, and the Great Hall, which displays Talbot family history.

Separately, one can visit:

* Museum of Childhood and Tara's Palace. The centrepiece of the museum is Tara's Palace, built to 1/12 scale, drawing on several of Ireland's "great houses" for architecture and design. The Museum, situated in the castle courtyard, also contains antique dolls, toys and other dolls' houses, including one from 1700 and one from the family of Oscar Wilde's mother.

* The Fry Model Railway, a large (2,500 sq ft.) working miniature rail display, from the 1920s-1930s. The railway includes models of stations and Irish features. This appeared to be closed when I visited the castle. See further information below.

* The Talbot Botanic Gardens, situated behind the castle, comprising several hectares of plants and lawns, a walled garden of 1.6 hectares (2007: public access, Weds. only, groups by appointment) and seven glasshouses, including a Victorian period conservatory. Many plants from the southern hemisphere, notably Chile and Australia, are featured.

The demense is one of few surviving examples of 18th century landscaped parks, and has wide lawns surrounded by a protective belt of trees. It can be visited freely, with a number of entrances and car parking areas. In addition to woodland walks, and a marked "exercise trail", the park features actively used sports grounds, including a cricket pitch and several football pitches, a 9-hole par-3 golf course, an 18-hole pitch-and-putt course, tennis courts and a boules area. There is also a modern children's playground near the castle.

FRY MODEL RAILWAY

Most of you will not be aware that the Fry Model Railway, owned by Dublin Tourism and housed in a purpose built building in Malahide Castle grounds has been given notice by Fingal County Council, the owners of the premises.

The reason for the eviction is not clear.

Again, most of you will have visited the Fry Model Railway at some time, and would be aware of the significance of this working layout, and associated static displays. It is the only working layout on the island to represent the history of our railways over the past 170 years or so, with the main line representing Belfast – Dublin - Cork, and including the narrow gauge and such delights as the mail boat sailing from Dun Laoire, and the Guinness barges on the River Liffey.

The layout, as far as we can ascertain, is to be put into storage, following its dismantling. The deadline for this is the end of February. No further details are available, and the future of both public and enthusiast viewing is uncertain.

An alternative location should be found, if possible, and we are appealing to ALL of you to come up with suggestions, north, south, east or west, in order that this magnificent collection should be kept available for public viewing. One suggestion is that it be re-erected in the grounds of Collins Barracks Museum in Dublin, which would have the advantage that it would be on a Luas route, close to Heuston/Kingsbridge station and on numerous bus lines. This is an area which should be explored further. It must be remembered though, that the layout is effectively a living organism, and requires maintenance on a regular basis, and the possibility of a continuous upgrading, as it has had over the last 20 years or so. Money will be required on an ongoing basis to maintain it; hence, it cannot be free entrance, wherever it may end up.

Timing is somewhat fortuitous, as the politicians in the South will now be more amenable to pressure, with an upcoming election, so I appeal to all of you to exercise whatever influence you have to ensure that the Fry Model Railway has a future in the public eye.

There will be one more opportunity to see the layout in action before its demise in its current form, and when we find out when that is to be we will notify the community of modellers and railfans on the Island. We would be keen to see a large turnout for that event to ensure that the authorities see that there is a huge interest in this collection.

There is also a requirement for a more formal support group for the Fry Model Railway, and a Friends of the Fry Model Railway is now in the process of formation. You are invited to give it your support.

I also appeal to you to ensure the widest possible circulation of this e-mail by whatever means possible among the model and prototype railway community. I have no contact details for IRRS, Erne MRC or Wexford MRC.

John Hamill

Chairman Model Railway Society of Ireland

Interim Convenor, Friends of the Fry Model Railway

School bus with residential unit upstairs. Looking at StreetView this was in the same place in May 2011, which seems a shame. Things like this need to be out on the road, keeping people entertained!

Seen in Sausalito, CA, USA

THE 1900'S OPENED WITH TWO NEW LIGHTS ON THE WEST COAST OF SCOTLAND - TIUMPAN HEAD LIGHTHOUSE, NEAR STORNOWAY AND KILLANTRINGAN LIGHTHOUSE ON BLACK HEAD, ON THE WESTERN SIDE OF THE RHINS OF GALLOWAY ABOUT 1.5 MILES NORTH OF PORTPATRICK IN WIGTOWNSHIRE. THE GO AHEAD TO BUILD A LIGHTHOUSE AT BLACKHEAD WAS GRANTED IN 1897 AND IT BECAME OPERATIONAL IN 1900.

IT WAS NOT TO BE LONG BEFORE THIS LIGHT PROVED ITS WORTH. ON 26 NOVEMBER 1900, THE PRINCIPAL LIGHTKEEPER NOTICED A FISHING BOAT IN DISTRESS AND FIRED A ROCKET TO SUMMON THE LIFEBOAT FROM PORTPATRICK, WHICH TOOK THE CREW OFF AND TOWED THE BOAT INTO THE HARBOUR. THERE HAVE BEEN MANY INCIDENTS SINCE THEN, THE MOST RECENT BEING IN 1982 WHEN A CONTAINER SHIP RAN AGROUND.

IT WAS AUTOMATED IN 1988 BUT IN 2005 A REVIEW TOOK PLACE OF ALL NAVIGATIONAL AIDS AROUND THE COAST OF THE BRITISH ISLES, BOTH IN ISOLATION AND THEIR WORTH TOGETHER. AS A RESULT OF THIS IT WAS DECIDED THAT KILLANTRINGAN WAS NO LONGER REQUIRED, SO IT'S LIGHT WAS SWITCHED OFF ON 11 JULY 2007 AND SINCE HAS BEEN INACTIVE.

I was at the local car show. Snapped a couple or more of them . But I came across a lot of Harleys in the shaded parking lot and was checking them out when I spotted this. I liked the lines of Black against the Chrome. The light seemed good so I took a few. I liked the way the air vents tapered down and enclosed the center piece.

Found a funny catlist on cats in facebook I would like to share.... This is so true LOL

1) What humans is for:

Humans have four primary functions:

* to feed you

* To play with you

* Give you the attention you require

* And to clean the litter box.

It is important to maintain their dignity when you're with people so they will not forget who is the ruler of the house. You can learn them if you start early and have great patience. Then you will have a well-functioning household.

2) The Doors:

Never allow any closed doors. To open the door, stand on hind legs and banging with forefeet on the door. When the door opened well, it is not necessary to use it. Stand in the doorway and not move on you. This is especially true if toilet was occupied, and you managed to get toliletvisitor to open the door. If you choose to go in and shut the door, demand immediately to go out again. It helps not to bang or scratch on the door, jama as high as you can!

3) The toilet:

Always follow the human into the toilet. It is not necessary to do anything, just sit there and stare. This rule applies especially when your people have guests.

4) Beds and carpets:

If you feel that you have to throw up, go immediately to a bed, preferably one with vague bedspread. If you do not get there i time choose the most difficult to wash the carpet instead. Make sure your back when you are sick, so that the creature spread. Like vomit several times in different places on the carpet. Choose a wretch like stained carpets and bedspreads, so that no creature can be seen.

5) To move around:

If you must move, make sure you run as fast as you can and as close as you can in front of your man. This rule applies especially in the stairs, when your human carrying something in the dark or when people just got up in the morning. This will help people practice their coordination skills.

6) To help:

One of the cat's main tasks is to help its people. Often, however, call the human the task of "getting in the way", but it means exactly the same as "help". Humans needs help in many different situations, so here are tips on the most common "to help" the situation:

a) Cook: When your human is cooking, sit behind one of your humans heel. You are not seen and therefore you have more chance of being trampled on and then picked up and comforted perhaps by a morsel or two.

b) Bookreading: Try to help your human with bookreading by positioning yourself between the book and the man's eyes. This rule applies only if you can not lie across the book.

c) Paperwork: Lie down on paper so that most of this is hidden in you, or at least the most important part. Pretend you are asleep, but every now and then sticking out your paw and strikes on the pen. The workers will try to distract you, ignore it and continue. Remember that the goal is to get in the way as much as possible and avoid work.

d) Computers Work: The computer work can help the humans in several ways. Often people write on the keyboard, help her with this by walking over it. Ask yourself, better still, still in the middle of the keyboard. This helps you in two ways. Firstly, you can quickly fill an entire document with a single letter, and you prevent your man can see the computer screen. A third way to help with computer work is to present himself at the top of the screen and cover that with paws and tail. NOTE! This requires that your man has a slightly older computer. Do not try to lie on a flat screen! Is your man a laptop, it is excellent that the tang on the table, lean forward across the screen and chewed a bit on one corner.

7) How to play:

Sleep well during the day so that you drop spawn during the night. Below are some of the major cat games scheduled. If you could make a small mistake during the game and, for example, fall off a chair, play, unmoved. Immediately begin to lick any body part and look as if it was actually supposed to happen. Humans always fall for this.

a) Capturing the mouse bed:

Humans tries to get you to believe that what is going on under the covers are their feet and hands. Do not believe this ... There are actually bed mice, which are claimed to be the tastiest mice in the world, even though no cat so far has managed to capture one. A good way to get a bedmlouse is trying to pull itself into the duvet cover with the help of its claws. If the humans is screaming, it depends on bedmouse ran over her legs.

b) Running Competition:

This game requires you to have a cat friend. Appropriate time to begin the running game is great when your people are asleep. Take the bullet and run everything you can eat right through all the rooms. Beds are obstacles to be crossed from the head end to foot end. Take a big leap as you land in the humans face, then take three long strides, one in the stomach, one on the legs and feet, before crashing onto the floor and continue to the next room with a bed in. This game makes you get more close to your human. Those who have time to pass through most people before you are evicted, wins the entire competition.

10) Holidays:

Some ceremonies are particularly suitable for play. At Christmas time you can find many fun pursuits. A Christmas tree can occupy you for hours. A spruce is possible to climb, there are plenty of fun dangling balls in it, and you can even play the game "Capture the needles in the coat", if your people have a real Christmas tree. Another funny granlek is "finding needles". You play first "catch needles in the fur", and then run you whatever your heart's content around the whole house. Then your man play "find needles" until Easter.

3d Anaglyph Shot-Red Cyan Glasses require! Wild Passionflower,considered a invasive weed here in Tennessee.I consider it the most beatifull flower on earth!I cultivate them for their perfume scent and they are hummingbird magnets!

The two-and-a-half story house with two-tiered front porch was built circa 1912. The house exhibits one of the most characteristic adaptation of the Greek Revival style in its gable front facade with columns rising two stories that supports a clearly defined triangular pediment. A roof scuttles- similar in form to a hatch on the deck of a ship —on the side gable roof allow air and light into the attic area. The front attic space has a center window protected by a shutter that allows air into the area while keeping out sunlight during the heat of the day. The classic simplicity of the house is emphasized by the plain character of spindles on the porch rails. (Note: This house is located in the Key West Historic District. It has been expanded, renovated or updated over the years, however, Key West ordinances and zoning regulations require that original architecture character be maintained.)

I simply pose 'cause it's my want.

Atheist myths debunked.

The development of order.

One of many questions’ atheists are unable to answer is:

Why is there order in the universe?

Order denotes purpose. Purpose requires a purposeful creation, which atheists deny.

There are several laws of nature and principles of science that atheists dearly wish would not exist.

Among these are:

The Law of Cause and Effect, the First and Second Law of Thermodynamics and the Law of Biogenesis.

These laws frustrate all attempts by atheists to replace God with ‘naturalism’ - their extraordinary belief that everything arose from nothing of its own volition, progressively increasing in order and potential, by entirely, natural processes.

Every natural, origin scenario (naturalism) defies explanation of the existence of order in the universe.

The First Law of Thermodynamics tells us that the building blocks of the universe, matter and energy, cannot be created by natural means.

The Second Law tells us matter/energy does not increase in order and potential. It tells us that, over time, the natural tendency is towards disorder and decreasing potential, from an obvious, original peak. There cannot be any natural, ongoing, development of order. This is an inconvenient fact for all atheist, natural, origin scenarios, which require the exact opposite; a simple, natural origin of matter/energy from nothing, progressively increasing in order and potential.

In addition to this inconvenient truth is the fact that an effect cannot be greater than its cause. A simple, random, chaotic, or disordered origin cannot naturally lead to a complex, ordered result. This causality principle endorses the Second Law.

The Second Law tells us order/complexity/potential does not increase naturally, but tends to decrease, and the Law of Cause and Effect tells us the result of a process cannot be superior to the totality of its original cause or causes. There cannot subsequently be more potential or order in an effect/entity than that which was intrinsic to its origin. Furthermore, the tendency, over time, is for this potential to decrease.

The absolute killer for atheist, origins mythology is that: even if progressively increasing order/potential in the universe was possible, it would still denote purpose.

What inherent principle could support increasing order/improvement as a likely outcome of purely, natural processes?

For example: If, as atheists are compelled to believe, matter/energy automatically progressed, of its own volition, from its origin, to acquire an inherent predisposition for the spontaneous generation of life (so-called abiogenesis), which (incidentally) violates the Law of Biogenesis, they have to explain how such a predisposition/blueprint for life originated in an unconscious, unplanned, purposeless universe?

They may argue that the origin of life is a just a chance event, but the mechanism/constituents of any chance event must have the intrinsic capacity or capability to produce the chance outcome. A random, number generator may generate an unlikely combination of numbers by chance, but it cannot generate any numbers at all unless it is devised/constructed with the ability to do so. An unlikely event may happen by chance, but only if such an event is intrinsically possible. The atheist ploy, of just ignoring laws of nature, spectacularly fails.

How could the potential for constructive improvement develop autonomously in unplanned, unconscious, purposeless, dumb matter, which originated from nothing? The obvious, rational answer is that it couldn’t.

Atheists often employ bizarre arguments to justify their denial of the universality of laws which refute their beliefs. One of these, which has attained common currency among atheists, is the idea that snowflakes and crystals are examples of natural development of order. And that they somehow contradict the Second Law of Thermodynamics.

Here is an exchange I had with an atheist which illustrates this:

An atheist (Aimless Alliterations) in answer to part of my original post where I cited the Second Law of Thermodynamics, wrote this:

“Oh, goodness gracious. You tied yourself up in all sorts of knots a while back with this one . You really need to read the science and understand it before making statements like this.

Quoting me:

"The second Law of Thermodynamics rules out the spontaneous generation of life from non-life as a chance event. "

“Really? Where does it state this?”

Quoting me again:

"According to the Second Law of Thermodynamics, when left to themselves, things naturally become more disordered, rather than more ordered."

“Okay then..............account for snowflakes, rock crystals, the grading of sediment in a river system”.

My reply:

You wrote:

"According to the Second Law of Thermodynamics, when left to themselves, things naturally become more disordered, rather than more ordered." Okay then..............account for snowflakes, rock crystals, the grading of sediment in a river system."

I am afraid it is you who doesn’t understand the Second Law. What I said is perfectly correct.

There are only 2 ways the effects of entropy can be temporarily decreased, halted or reversed by an input of energy. Either by a directive means or agent guiding the energy input, OR a directive or conversion mechanism possessed by the recipient of the energy to utilise it in a constructive way.

Raw (unguided) energy (such as random heat) tends to increase entropy and time makes it worse.

Snowflakes, rock crystals etc. do not violate the Law of Thermodynamics, although atheists who hate all natural laws that interfere with their ideology dearly wish they did. They act only according to their pre-coded, atomic structure, and furthermore they are formed by the removal of heat, being transferred from them to their surroundings, rather than the opposite, which evolutionists require for abiogenesis.

Regarding the grading of sediment, I am surprised you mention that, because we know that is how most strata are formed, which effectively demolishes the uniformitarian interpretation of the geologic column and the fossil record. In this case, the grading is guided by the physical properties of the particles (size, shape, weight etc.) obeying physical laws. And, it will in time, be eroded and disorganised by the same forces that created it.

Abiogenesis (life arising of its own accord by natural processes from sterile matter) certainly does violate the Second Law of Thermodynamics, because it requires a reversal of the effects of entropy.

Atheists and evolutionists often argue that abiogenesis doesn’t violate the Second Law because the Earth is an ‘open system’ which allows an input of energy from outside itself, namely the Sun.

They claim that the law of entropy only applies to ‘closed systems. This claim is obviously spurious, because firstly, we can observe entropy happening all around us. We are in the open system of the Earth, and yet we are well aware of entropy. We see that the Sun does not halt or reverse entropy, in fact we see the opposite. The raw energy and heat from the Sun, unless harnessed, does damage, things all around us obey the law - they deteriorate, rot, erode and decay, they do not naturally improve. If you paint your house, the Sun, and the weather effects caused by the Sun, will eventually damage the paintwork, it will crack and peel after a few years. The hotter the Sun (the greater the energy input) the quicker it will happen.

Secondly, even if it were true that in an open system, things can defy the law of entropy, natural laws are laws for the whole universe, and the universe, as a whole, is a closed system.

So, what can we deduce from this?

Can the effects of entropy ever be reversed of halted?

Obviously, when you paint your house, you are reversing the bad effects of entropy for a short period, but you have to keep doing it, it is not permanent. Moreover, the energy you are using to repair and temporarily reverse the effects of entropy, is directed and guided by your skill and intelligence.

So, the atheist argument about the Earth being an open system is clearly not a valid one.

To conclude: We know that the energy input to the so-called Primordial Soup would have been raw, random, unguided energy. So the only other possibility to reverse the effects of entropy is that a directive or conversion mechanism was possessed by the recipient of the energy to utilise it in a constructive way, i.e. that basic matter (chemistry) is somehow inherently predisposed with the potential/blueprint for creating life and the information for life.

Please explain what that directive mechanism for the constructive utilisation of raw energy is - and where that inherent potential for the reversal of entropy and the construction of life comes from?

We certainly don't see abiogenesis happening naturally today, it doesn't even happen artificially in contrived experiments. To claim it happened long ago as a one-off phenomenon in some imagined scenario is not science, it is just pie-in-the-sky fantasy.

Atheist reply:

Quoting me:

“Snowflakes, rock crystals etc. do not violate the Law of Thermodynamics, although atheists who hate all natural laws that interfere with their ideology dearly wish they did. They act only according to their pre-coded, atomic structure, and furthermore they are formed by the removal of heat, being transferred from them to their surroundings...”

“So in other words they become MORE ordered despite become cooler? So the Second Law of Thermodynamics is violated because there is a REDUCTION in entropy? According to you this should be impossible.

You certainly don't understand the Second Law of Thermodynamics......or maybe you do but are simply lying about it to justify your absurd claims?”

My reply:

“You wrote:

"So in other words they become MORE ordered despite become cooler? So, the Second Law of Thermodynamics is violated because there is a REDUCTION in entropy? According to you this should be impossible.

You certainly don't understand the Second Law of Thermodynamics......or maybe you do but are simply lying about it to justify your absurd claims?"

Oh, for goodness sake! I warned you about scouring the internet searching for answers from quack, atheist websites. They are presented by people as clueless and gullible as the people they are trying to convince, or by people who are deliberately trying to deceive the public for ideological reasons.

Atheists should know that snowflakes, crystals etc. are not examples of the development of order. By regularly presenting them as such, they reveal either their deceitfulness or their complete misunderstanding of science.

There is NO reduction in entropy, the Second Law is NOT, and CANNOT be, violated, as you claim. If you knew even the basics of the Second Law, you would not make a fool of yourself by saying it is.

Snowflakes have absolutely no relevance whatsoever to the increase in complexity/order required for the origin of life.

Snowflakes, crystals etc. are simply reverting to the natural state dictated by their atomic structure as they cool. If you knew anything about the Second Law you would know that the natural, intrinsic order of matter is highest at lower temperatures. You would know that the application of raw (undirected) heat/energy increases entropy.

The natural, intrinsic order of substances is greatest at absolute zero.

That does not mean cooling causes a decrease in entropy overall, the heat/energy is transferred from one substance to its surroundings and the entropy is increased in the surroundings.

Snowflakes have absolutely no relevance to abiogenesis, because there is no increase in order above or beyond that which is intrinsic to the inherent, atomic properties of water. By lowering the temperature, the apparent increase in order is not an actual increase in, or the development of order, but simply a restoration at the atomic level to the original, natural, ordered state of water at the lower temperature.

If a rubber ball is squashed (made asymmetrical) by applying a heavy weight to it, would it be classed as an increase in order when the weight is removed, and it returns to its original, symmetrical shape?

According to the ridiculous, atheist analogy of snowflakes and crystals it would be. It only goes to show that atheists will clutch at any straw, however silly, to justify their ideology. They have the audacity to challenge and attempt to undermine natural laws with their nonsense and then accuse those who uphold them of being unscientific and ignorant. Their barefaced cheek never ceases to amaze me.

I repeat my question, which you have failed to answer:

We know that the energy input to the so-called Primordial Soup would have been raw, random, unguided energy. So the only other possibility to reverse the effects of entropy is that a directive or conversion mechanism was possessed by the recipient of the energy to utilise it in a constructive way, i.e. that basic matter (chemistry) is somehow inherently predisposed with the potential/blueprint for creating life and the information for life. Please explain what that directive mechanism for the constructive utilisation of raw energy is - and where that inherent potential for the reversal of entropy and the construction of life comes from?

The basic, inherent, atomic structure of water, and of all matter, along with natural law, is part of the initial order of the universe which became present at the moment of its creation. It is not developing order, such as that which would be required for abiogenesis or cosmic and biological evolution.”

Atheist reply:

“You really, really don't understand The Second Law of Thermodynamics and you shouldn't write any further drivel which relies on this.

Let's look at you original claim: The second Law of Thermodynamics rules out the spontaneous generation of life from non-life as a chance event. Fail - The Second Law of Thermodynamics is nothing to do with chance.

But I'll tell you what .........rather than carry on with this nonsense I'll refer you to a very useful site that you (and anyone else) can access and it'll tell you what entropy is and how it relates to the Second Law of Thermodynamics. It doesn't talk about origin of life or anything like that. It uses quite simple language and you need to read it and UNDERSTAND it.

entropysimple.oxy.edu/”

My reply:

You wrote:

"You asked for references to self-replicating information. There are many to choose from but here you go. Enjoy the bed-time reading."

There you go again - giving me links to internet sites, which I am quite capable of accessing myself. I am well aware of how to Google endless points of view on virtually every subject under the Sun. So please stop insulting my intelligence, I have seen all this stuff before. I asked you to give me examples yourself, a simple enough request. I don't want links to internet sites (or long copy and pasted tracts) which can be found on the internet to justify virtually anything. What is your problem with actually answering questions yourself?

You wrote:

"You really, really don't understand The Second Law of Thermodynamics and you shouldn't write any further drivel which relies on this.

Let's look at you original claim: The second Law of Thermodynamics rules out the spontaneous generation of life from non-life as a chance event. Fail - The Second Law of Thermodynamics is nothing to do with chance."

You accuse me of not knowing anything about the Second Law, after your astonishing, earlier statement:

"So in other words they become MORE ordered despite become cooler? So the Second Law of Thermodynamics is violated because there is a REDUCTION in entropy? According to you this should be impossible."

You, who wants to claim that (what Einstein called the premier law in science) can be violated have the audacity to accuse me of not knowing anything about the Second Law. Unbelievable!

The reason I used the word 'chance' is perfectly obvious to anyone who knows anything about the subject, which obviously doesn't include you.

Only DIRECTED energy can enable a temporary decrease in entropy, it does NOT HAPPEN by CHANCE. There has to be a guiding principle or agent either: 1) acting directly on the energy source - or: 2) a directive or conversion mechanism possessed by the recipient of the energy. A decrease in entropy doesn't happen randomly or as a 'chance' event.

You believe the atheist nonsense that snowflakes/crystals are an example of an increase in order, which demonstrates your dire knowledge of the subject.

If you knew anything about the Second Law you would not have cited such a spurious example, apparently you are willing to believe anything you read on atheist/evolutionist websites as though it is gospel.

Perhaps you can address the question I asked in my last post: If a rubber ball is squashed (made asymmetrical) by applying a heavy weight to it, would it be classed as an increase in order when the weight is removed and it returns to its original, symmetrical shape? But I doubt it, answering questions is not exactly your forte. You would rather nit pick about the qualifications of anyone who disagrees with atheist pseudoscience.

Atheist reply:

Quoting me:

“There you go again - giving me links to internet sites, which I am quite capable of accessing myself. I am well aware of how to Google endless points of view on virtually every subject under the Sun."

“Well you asked for examples and I provided these for you. These are references to well-respected research which provides evidence which you appear to be either too lazy or unwilling to research for yourself.

If you were aware of such research would you have written the nonsense you pour forth? ............Probably.

You also appear to have some sort of cognitive dissonance as far as the Second Law of Thermodynamics and entropy. I provide you with an excellent resource and you fail to take advantage of it to understand the subject matter properly.

That really is astonishing!

All your rubber ball example does is illustrate the law of conservation of energy.”

My reply:

You wrote:

"Well you asked for examples and I provided these for you. These are references to well-respected research which provides evidence which you appear to be either too lazy or unwilling to research for yourself."

No! You are either too lazy to answer any questions yourself, or you are unable to. I suspect it is the latter, because you have already demonstrated from previous remarks that your knowledge of the subject is absolutely dire. Yet you insist on continuing to try to bluff it out, by either copying or pasting other people's work or posting links to anything you think supports your argument.

I'm afraid you have been sussed.

You have already put your foot in it - big time, by citing snowflakes and crystals as an example of developing order.

You mistakenly thought all you had to do to win an argument was to parrot stuff direct from an atheist/evolutionist website. When, in fact, parroting the sort of pseudoscientific rubbish that atheist/evolutionist websites are filled with, is a sure way of making yourself look extremely foolish.

You wrote:

"All your rubber ball example does is illustrate the law of conservation of energy"

What sort of damn-fool answer is that?

I asked: "If a rubber ball is squashed (made asymmetrical) by applying a heavy weight to it, would it be classed as an increase in order when the weight is removed and it returns to its original, symmetrical shape?"

IS IT AN INCREASE IN ORDER OR NOT?

Please answer the question.

Because if it isn't an increase in order, it completely demolishes both your snowflake/crystal argument and the credibility of atheist/evolutionist so-called 'science'.

No wonder you don't want to answer.

**************************************************

Four and a half years later.

I am still waiting for any atheist to answer the rubber ball question?

The full debate can be seen here:

www.flickr.com/photos/truth-in-science/16208667768

___________________________________

Another argument employed by atheists to justify their denial of the Law of Cause and Effect is ‘quantum mechanics’.

Their claim being; because quantum effects appear to behave randomly, they could also be uncaused.

This is complete nonsense, quantum effects may appear random and uncaused, but they are definitely not uncaused. Even if their direct cause is difficult to determine, they are part of a CAUSED, physical universe.

The idea that anything within a CAUSED universe can be causeless is ridiculous, because whatever caused the whole universe, is the original cause of everything within it.

Furthermore, just because directly traceable causes cannot be determined, doesn’t mean a direct cause doesn’t exist.

For example:

It can be compared to the randomness of a number coming up from throwing a dice. It may appear random and without a direct cause, but it isn’t. Because if we knew all the complicated and variable factors involved – such as the exact orientation of the dice as it leaves the hand, the velocity of the throw and the amount of spin etc., we could predict the number in advance.

So, just because, in some instances, direct causes are too incredibly complex to accurately predict the result, doesn’t mean there is no cause.

Quantum effects - The smoke and mirrors trick.

www.flickr.com/photos/truth-in-science/35908166441

Evolution, multi-million year timescale refured.

Rapid strata formation - field evidence.

www.flickr.com/photos/truth-in-science/albums/72157635944...

Dr James Tour - 'The Origin of Life' - Abiogenesis decisively refuted.

youtu.be/B1E4QMn2mxk

Volleyball requires speed, stamina and accuracy but above all it requires determination and focus.

Sony A77

Sigma 50mm F1.4

Cactus V4

AB800 Camera right 20 degree grid

Lumopro LP160 Camera right and left to the rear bare

1/250 f8.0 ISO125

This exposure meter Revue S110 was sold by Foto-Quelle. It works with a selenium cell and does not require a battery. It is likely from the 1960s. The displayed light intensity is set on the outer ring. In the photo it is 4. The sensitivity is set on the disk with the small window. In the example ASA 100. The matching aperture and shutter speed values can now be read. The aperture values go up to 45. I've never seen that before. On the back there is a small screw for zero point adjustment. There is no more. It still works. Switzerland, Nov 15, 2021.

As a man who enjoys engaging in transvestism and is fascinated by the challenge of female illusion I am a lover of make up. I have wanted to wear make up, dresses and high heels since I was a young boy and after a lifetime the desire has never left me.

I always enjoy applying makeup to my face and seeing if I can feminise my features to create a convincing portrayal of a woman. This of course requires a fair bit of commitment. If you want to look like a woman then you have to make a few changes, firstly you need neater, tidied up eyebrows, most male brows are untidy and bushy. I'm not suggesting you go thin with your brows, a shape I actually think looks unnatural, but a tidier neat shape is essential.

Next is regular daily use of moisturiser to soften your skin. This should be followed by using the best razor you can buy with good shaving oil, foam or cream and by slow careful very methodical shaving. You also need to ensure you shave against the growth to get as smooth and as hairless an appearance as possible on your beard area. Stray hairs and nose hair should be plucked (ouch!)…yes it does hurt but if you wish to look female…no pain , no gain.

Being male do not delude yourself you can use regular women's foundation. I see this as the soignée biggest failing in many transvestite/ cross-dressers appearances. It is not designed work on male skin with a beard shadow. It may work outside the beard areas of your face but is too light to disguise a beard.

As men we cannot avoid wearing heavier make up than women. I have witnessed many who spend little time on their make up and you can see the fact their face is male all too easily. Make up requires a lot of effort and should not be rushed just because one thinks doing it in ten and twenty minutes will be fine and that's how fast women can do it. We are not women, we are impersonating them and we need to work on the illusion. It takes care.

I have a very dark beard shadow and can grow a beard in about three days so I see myself as an extreme example and I had to learn the right make up technique to disguise this.

I use Dermablend's reddest camouflage which I apply all over my beard area with a latex wedge. This red helps neutralise the blue of my beard shadowAfter leaving it for about five minutes I then use Kryolan panstick foundation all over my face. In order to cover my beard area smoothly I gently dab the foundation on starting from my throat and moving upward. This is a slow process and should be done in order to create a smooth convincing look to your skin and completely cover the beard area. If you just draw it on and spread out you may as well give up as that process is never going to produce a decent look. Slow carefully gradual build up by gently dabbing the foundation on is the way. IT can take between twenty and thirty minutes. If you can't be bothered then be ready to accept you won't get a total covered smooth look.

Eye make up is an area just about every transvestite messes up. For some unknown reason, I am genuinely mystified, many completely circle their eyes in eyeliner…why? That's what teenage girls with no idea about why they are using make up do. Remember make up is all about enhancement and feminising your features. You need to apply make up in a way that does this not detracts from your appearance. If you have huge almond shaped eyes you can do compete outlines, look at gorgeous women like Angelina Jolie, they have the eyes and the features that this will work on. Back in the real world, we men do not have features or eyes that are that feminine. We tend to have smaller eyes than women and our forehead shape is different, women have a higher forehead generally.

The idea should be to open up your eyes and give the illusion of a wider eye, this is a lot more feminine. Also, a lift to the outer eye aids this and looks a lot more feminine and younger. In order to achieve this you need to stop outlining right around your eye. Outlining your eye completely actually makes your eyes look a lot smaller, ruins the balance and looks harder, it detracts not enhances. Some say this is dramatic but only if you have naturally big eyes to start with, it just does not work on most peoples eye shape.

To create the illusion of a bigger looking they you should be careful how you add eyeliner to the lower eye. The most flattering approach is to carefully draw in eyeliner, very gently from the outer corner about one third of a way in and taper it so it becomes thinner. Never go further than your pupil. On the upper eye again taper inward from the outer corner but take the eyeliner at least two thirds of the way across.

The next technique is apply mascara (very carefully) to the upper lashes sweeping outward and upward. Gently apply mascara to your lower lashes but not too thick. Once the upper lashes have dried apply two more coats (waiting in between for each coat to dry) but do not apply any more mascara to your lower lashes.

The overall effect will make your eyes look softer, more feminine and bigger. It takes a bit of practice but it's not that difficult and well worth it if you genuinely desire to look more feminine.

Remember, there should be a reason, a direction to your make up, just putting on is pointless. Many real women have no idea how to wear make up so don't be disillusioned. You should be working toward what will enhance and feminise your features not just using the wrong foundation, drawing eyeliner right around your eyes and just putting on blusher and lipstick. There need to be applied in the right places in order to create the illusion you seek.

You also need to use the right tools, I see lipstick being applied straight from the lipstick…this is never going to work well. LIpstick is best applied by drawing in the shape first with a lip pencil then using a brush to paint in the lipstick and fill the lip area. I would say avoid the obvious lip pencil outline, it is bet to use a lip pencil that matches your lipstick colour and your lips will look a lot more feminine.

In this photo I've employed all the techniques I described as well as a bit of contouring on my blusher to enhance my cheek and more importantly my eyes. I think make up application should focus mainly on the foundation and the eyes and the rest needs to be carefully added. The secret to good make up is making one strong feature rather than too many. I think the eyes or the lips or the ones you should decide on. I have terrible lips, very thin and no shape so I focus on distracting from them by enhancing my eyes with make up. My lipstick is not my natural lip shape, it is created with lipstick to look more shapely and bigger. If you have great lips then you can make these the main focus but only aim for one main focus, everything else is in a supporting but by no means insignificant role.

Helene x

...No cutting required.

A non-direct, satirical response to SHARPSPEED's part modification.

Anyways, I've also come up with a new spoiler technique. Now move along, you've got more important things to do ;D

Some notes ABOUT MY WORK (a brief sample of local or regional anthropology at micro level):

The word "Gravity" is a symbol of reality that exists. Similarly E=mc2 is a combination of symbols trying to express some reality. In similar fashion my depiction of flashes (kashf) should be conceived that they are equations in language that nature uses. If “E” stand for “energy” and “=” stand for “equal to” and “m” for “mass” and so on, than in my flashes some wood or earth texture juxtaposed with some toy or any object could be some explanation of some phenomena in language that nature is accustomed to. Perhaps fate had dropped flashes in my lap and I am depicting these flashes for world to know how to derive knowledge out of these flashes. May be from Archetypal plane I am receiving flashes and transforming these into phenomenal plane, but for more perfect transformation, sponsorship is required, like flashes roughly depicted demands super realistic treatment or animations at some points, or arrangements in 3- Dimension or performing activities or etc. at some other points, because each of my work either illustrated or arranged for photo is a part of animation and is just a one shot from one angle of bigger reality, therefore I am not a sur-realist.

For deriving knowledge from my flashes their access to wider researchers in form of website, book, Museum, CD, video, etc. are required. And due to unavailability of resources, most of the paintings were sold before I could photographed these works which basically are like the fossils of the time and region and are done with hope that in future in order to get some data out of these works, the dimensions of anthropology, psychology, historiography, neurology, neuro-physics and other aspects will also be taken into account and the result may benefit in understanding some aspect of the complex Nature.

Nature is full of concepts like forms, colors, textures, sound, smell, time, taste, hunger, desire, romance, death, thoughts, light, dimensions and etc. and why nature chooses these different concepts in different composition, for instance: FORM in man, why Allah has choosed to place two eyes or say two hands with certain FORM, for Allah its also easy to give sight to the whole body, Allah can give any function to any form, therefore Allah knows the reason of His composition in His creations in which certain FORM is also very important, what scientists are exploring is function of every form has secondary importance bcause, Allah can give any function to any form, but its more difficult to explore reason of form, texture, color and etc. where an artist can collaborate to understand, and in romance, pain, hunger, poverty and etc. where a philospher, psychologist can collaborate to understand, in my case, I wonder, when Allah created the first man, the FORM came first or the function or word or names ? With particular texture, color and form flower came first or its name or its symbolism or archetypal dimension came first ? here lies the importance of Flashes to explore, because they are like comunication from nature, the language of which we do not know yet. why certain composition comes in my Flashes ? I do not know, I just record or illustrate these Flashes as a psychic fossils, thus I invite the viewer to explore "the tangibility of the intangible" as recorded in cover story of Dawn Gallery, May 17, 2008.

The importance of flashes can also be realized from the ripple effect observable in art and multi-media community that somehow came in contact with my work and hijacked ideology out of these flashes for their purpose, such benefits, scientific community has not taken yet out of these flashes. From art point of view the art community produced high quality variations out of my Flashes but their work lack archetypal dimension, which is one of the aspect, useful for scientific community to explore. For cataloguing purpose somewhere title or art terminology like: "oil on canvas", "collage", "performance", "installations", "construction", etc. are used has nothing to do with meaning of the work, flashes are independent of these terminologies borrowed from art history for cataloguing purpose only, flashes are beyond art. Flashes can include any ism, any element, bizarre thing, anything or things we don't know, that's why thousands of my flashes goes waste due to lack of energy and resources to record. Besides colorful images, performance and animation, Flashes also comes in form of sound as well, for instance I heard the sound: "Quranic archaeology is a mighty subject," this flash took me into the archaeology. For detail see at: quranicarchaeology.blogspot.com/ Please see my few recorded Flashes on address: www.flickr.com/photos/art-science-works/

Here I just want to share my personal recent refinement on my own analysis (with which you are free to agree or not), that perhaps I should confine myself to Flashes (or call it visions, images) which stay in my eyes just for less than a half second, perhaps for 0.01 second and I simply illustrate these Flashes and what it holds for future Fine Art, Science or Spirituality, I do not know yet. So I isolate myself from dada and sur-realism because I avoid title and avoid mixing my imagination or experimentation in recording of Flashes which is very rare or unrecorded. IN DADA AND SUR-REALISM WE DO READ ABOUT DREAMS AND DRUG INFUSED RANDOM THOUGHTS, BUT NOT FLASHES, SO FAR NO WORD ABOUT FLASHES I FIND EVEN IN FREUD OR JUNGIAN PSYCHOLOGY, THEY TALK ABOUT DREAM IMPORTANCE. And in Christian art history SO FAR I've only observed mixing of dream and inspiration from Bible. No body so far I have read in dada and sur-realism that somebody is claiming that he is depicting Flashes or depicting flashes without mixing his imagination or experimentation. But after seeing the difference between Flashes and work based on MIXING of imagination or experimentation, now I can pin point the Flash, mixed or unmixed*, so please never mix me with William Blake, Sohail Tassaduq, De Chirico, Carra, Magrette, because I am not competing in sur-realism, art aesthetic, or in painterly compositions, I have no experience of spirituality, so I request please do not also confuse me with any oriental mystic artists. MY WORK FROM (1974-81) OF INSTALLATIONS, PERFORMANCES BASED ON FLASHES IS STILL UNPUBLISHED, so new writers do not know about it. IN PAKISTANI ART ALSO SO FAR, NO ARTIST HAS EVER CLAIMED FLASHES mixed or un-mixed. For future science world, un-mixed FLASHES will be more important. If you come up with something related to SCIENCE OF FLASHES, please refer it. * NOTE: After seeing the difference between two, that is: (1)Pure Flashes and (2) some of my work based on MIXING of imagination or experimentation with Flashes, now I can pin point the Flash, mixed or unmixed. My unmixed are pure Flashes and to my mixed work(that is no:2) you can call it sur-realistic which I did for commercial reason on client's demand who was mad of sur-realism, I wish I could destroy these sur-realistic works.

Researchers are invited to reply on enigma of colorful flashes. From where they come? they come to all or to few,? Few interesting pieces of writing below could be the starting point for debate: One is by David V. Tansley in his book: 'Subtle body' , author writes,..."the pineal gland has been found to contain vestigial traces of optic tissue. Experiments have shown that nerve impulses arise in the pineal in response to stimulation by light. Galen claimed that the pineal was a regulator of thought, and the Greeks said that the soul was anchored there. According to esoteric tradition this gland is the focal point for the masculine positive energy of spirit which is represented by the first hexagram of l-Ching, its six yang lines symbolizing the primal power of heaven and the creative action of the holy man".

And another relevant thing here is about physicist Mitchell Feigenbaum (reported in the New York Times, 1984), that when inspiration came to Feigenbaum, it was in the form of a picture, a mental image of two small wavy forms and one big one. This gave him an idea about scaling, the way the small features of a thing relate to the large features, it gave him the path he needed. For period doubling, scaling showed not only when one value-a total population or a fluid speed-would break into two, but also just where the new values would be found, Scaling was an intimate feature of the peculiar world Feigenbaum was beginning to explore. Arthur I. Miller in a discussion of "redefining visualizability" makes it clear...the experimental evidence prevents us from forming a mental image bridging the wave-particle duality, such an image is available by 'Anschaulichheit' (German term for intuition, plus more) of another kind. It is the kind of image the physicist Werner Heisenberg had in mind when he asserted that, although the causality of classical mechanics has no access to quantum theory, quantum mechanics should not be considered unanschaulich, that is, excluded from imagery (Miller, Imagery in Scientific Thought). One example of such image is Albert Einstein's famous thought experiment in which he demonstrated the equivalence of inertia and gravitation by imagining an observer pulled through empty space in a closed container. Such images, however, lead by degrees of abstraction to others limited to spatial diagrams of a theoretical situation. Sigmund Freud, for example, writes, "We assume that the psychic life has the function of an apparatus, to which we attribute spatial extension and which we imagine as being composed of several pieces, similar to a telescope or microscope" Although such an image provides complementarity with a concrete percept of its models, it would not seem to provide it with a representable reality. But some physicists disagree that Niels Bohr never apply his notion of complementarity to subject other than physics. But for some physicists the contrary is true. From Rudolf Arnheim's essay: Complementarity from the outside. May be or may not be these above references are relevant here for flashes I do not know, but for scientific analysis it is important to state briefly here the background of how I realized the importance of these flashes, but for scientific cause I have to write what I should not. I hope my friends will forgive me for this cause, because for good Gestalt one should have all the possible details in mind, it is beyond humans to perceive Perfect Gestalt, only Allah knows everything.

In between, some works in form of small photo with ink or other media are what I called these: Today’s Miniature Works, it’s personal feeling that any other like me can also claim we never know what time can prove but thing should be recorded, this is what I am doing here. One of the experiments was a debate on miniature art, I told many, it should be saturated with current and regional issues or concepts, which I painted with brush and camera, etc. and called it Today’s Miniature Art, long before it became a trend. Indeed now it is much refined by our younger generation of artists, I hope they remember my small contribution untold to them. such miniatures along with other experiments of early 70’s I had shown to Bashir Mirza, Ali Imam, Ahmed Pervez, Jamil Naqsh, Imran Mir, Iqbal Jaffery, Naseem Ahmed Khan, Muhammad Ali Bhatti, Dr. Sajid Khan, Iqbal Durrani, Mohsin Zaidi and other artists and art collectors. But BM and Imam refused to exhibit these experiments (flashes) on ground that these experiments will become important in future, first I should make my name famous with super realistic sort of works, which they were selling easily, so I had to exhibit these experiments (flashes) at PACC, Karachi, Jan 8, 1979, about which Daily News reported: "Artist Bashir.Mirza inaugurated an exhibition of paintings by Saleem Mansoor, a 19-year old student at the PACC yesterday. Saleem has .a distinct talent in Art. He has painted old colonial houses in a remarkably sound representational style, he has to stick to this style in order to develop his aesthetic sense instead of delving into different styles".Daily News, Jan 9, 1979 This above small press coverage is evidence of my habit of delving into different styles and evidence of how brutally my Pakistani- avant gaurd works (that I did between 1974-1978 which were displayed in this 1979 exhibition) were brutally ignored by media. I invited Dr. Akbar Naqvi the only art critic I knew at that time, but he did not came, perhaps due to reason of event of Dec. 1974, when Ali Imam told me that Dr. Akbar is offering four hundred for your painting of nine hundred rupee, but I refused, after that I was never introduced to any art critic, nor Dr, Akbar wrote a word on me and not even in his book and other art historian also not included me in their books, and no comment I see in the catalogue of 2007- National exhibition, but can history ignore the influence of my Flashes recorded in an unmistakable solid resources other than these local sources ? If conceptualy analysed what Fine Art is all about ? than even two or three flashes from my 70's or early 80's (which Dr. Naqvi has seen) will have more wheight than works represented in local art books. This is not proudness on myself this is an admiration of gift from nature that I got in form of Flashes, although my depiction of Flashes is bad, because I have no proffessional art training nor I am better artist than many artists represented in local art books, on this ground Dr. Akbar Naqvi, S. Amjad Ali, Ejazul Hassan, Salwat Ali are right in not including me in their books. But I depict or record Flashes with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. When I put all these before Marjorie she replied my email with these highly rewarding words: " What you have to say is extremely important, but you have always been way ahead of your time and environment. Mansoor, it is very hard to be a pioneer, but you are in the best of company in art history. Do not despair"---Marjorie Hussain, 5. 19. 2008, 9.03.am. Marjorie perhaps discovered me in 1983 through BM and Imam as her this recording shows:

"Saleem Mansur is an extremely interesting artist: "an artist's artist' as Ali Imam used to say. Bashir Mirza who juried Mansur's thesis work at the Central Institute of Arts and Crafts in 1983, was also numbered among the artist's admirers and on that occasion was greatly excited by the audacious innovations of the young "avant-garde' artist. Mansur was even then into installations, happenings and conceptual art, ....... In spite of the success in terms of the work, Mansur returned totally to the conceptual language that few understood. Those who did, considered him the most innovative and promising artist of his generation." ---Marjorie Hussain, Art Views, page.146. Published by fomma. And according to founder of fomma: Imran Mir (who knew me scince 1975) use to say... "because of his "Garage Series" Mansur was an artist before admission at CIAC" . To some extent he is right, since then I am like a scientist trying to record or understand the phenomenae of Flashes which immenssly influenced even the senior artists and since than I am enjoying the ripple effects of my Flashes that I exhibited between 1974-80, because of these years' work, Imam and BM passed highly praised words to Marjorie in my 1983 show at Pakistan Arts Council, Karachi, which Dr. Akbar Naqvi also saw (in 1984 display at the same place), but avoided to write and said I will see your next show. despite all these I still like him and all other art critics because of their love with fine art.

In late 70's some art students from KSA and CIAC came to my house and told me they have taken address from the back of my canvas at BM and Indus Galleries and developed a friendship and insisted me to take admission in their art school, I told them I am refusing my father who has managed my addmission in NCA on ground that I can not work on others' assignment, but among them Mohsin Zaidi gave me inside story and assurrance that at CIAC I will have full freedom to do my own experiments, I decided to register at CIAC in 1981 where for new audience I repeated most of my earlier works for photo and film recording the facility of which I found among new friends and all these recording I took NCA (1981) to show it there as well to check the ripple effect of my Flashes and later I exhibited at NAG, Islamabad, Al-Hamra, Lahore (1984) about which Yasin Muhammad, Salima Hashmi, Ghulam Nabi and others wrote good comments. For press coverage Click Here

It was not important for me to call my small size works as "todays miniature art", because these recording of flashes are blue print for performmance, installations, 3D animation, etc., and these are blue print for science as well as specialist of quantum physics Thomas Young says, if we isolate light particle from other particle than its duplicate takes its place and that duplicate comes from other universe or from else we do not know yet but it certainly shows we all have our duplicates including universe within universe. Beyond particle there is particle-Less field in atom to which Euorpean physicst call God-particle, this field if it is realy particle-Less perhaps is a curtain between the world and the other worlds of spirits, jins, angels, etc. visible after death only and not through telescope, space ship, microscope, etc. so flashes could be the LINK with the other worlds we have yet to understand. It looks to me all the flashes came to me in one night of 1973 or 1974 and scince then I am trying to somehow to capture them in notes or in illustration and in this effort flashes do come back one by one but still my energy and skill is not sufficient to record all those moving and still flashes, I hired one video recorder in 1981 through Sadiq of CIAC to record such Flashes but budget did not allowed to refine it or to produce more. What ever Flashes I recorded between 1974-1982 is my work that has immense ripple effects without any economical reward.

See 1981 film recording which include Flash works. If executed with high resources,most of my Flashes (done between 1973-81) illustrated in this set of CD or in other collections are works in concept on higher plane and ahead of Malaveich, Oldenberg, Raushenberg, Robert Moris, Jasper John, Christo, Jackson Pollock, Donald Judd and etc. But still their execution with my little resources inspired many resourcefull groups of qualified artists, writers, historians, archaeologists, anthropologists, journalists architects and my flashes also inspired highly intellectual people behind Lari & associates, Shisha, Shanakht, Carce, vm, green cardamom, ivsaa, Fomma, vasl, vsdku and etc. that in their works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required.

A year before Metric and much before Diploma in fine art, my art works (flashes) since 1974 were on display at Atelier BM and at Indus gallery, and since then I am observing the ripple effect of those works. After solo show of my works at Pakistan American Cultural Center, January 1979, I went to CIAC, Karachi Arts Council, to check effects of my art and science works among artists. Before flashes since 1973 I was only doing super realistic sort of paintings of surrounding and of interior Sindh culture and capturing the local environment to come up with something: Pakistani avant-garde which I displayed at PACC solo show in Jan. 1979. But was ignored by media, only small press coverage came with a suggestion: "Mansoor has to stick to his remarkably sound realistic style instead of delving into many styles". (Art show, Daily News, Jan. 9, 1979). But anyhow I was realizing the importance of my flashes which were inspiring the most intelligent and talented of artist community for example: Ghalib Baqar changed his Dali sort of Sur realism into experimental water color, other water colorists like Abdul Hayee, Ather Jamal, Zahin Ahmad, Hanif Shezad, etc. added Karachi and interior Sindh imagery into their work.

One of world's best super realist artist Shakil Siddiquei changed his Rembrandt sort of style into super realistic abstraction, for instance his paintings of Book shelf, Notice board, door, windows, composition with Dawn news paper, Sindhi dari, fruit packing wooden peyti, Chilmun and etc., in subject matter, were directly inspired by my flashes in form of photos or artworks I shared with him. Art critic Dr. S. Amjad Ali in his article: "Growing trend towards realism", wrote;..."Saleem Mansoor was the first to begin this kind of realism in Karachi but he was well advised to give up after creating a few interesting pieces. It is a good way of gaining command over technique and then putting it to other use in which more thought and feeling comes into play." (Dawn, April 20, 1984). Ejazul Hassan wrote in Page 17, 123 in the catalogue of 5th National Exhibition, 1985, Published by Idara Saqafat Pakistan, written by Ejazul Husan. "Young Mansoor Saleem has his own unusual way with objects and space. He sometimes likes to call his work as "installation" in the environment around him. He always wants to place things where he thinks these should be placed. The coiled wire, with a crescent on top, placed on a gray composition is evidence of his restless imagination. The title "Pakistani Avnet Garde" also shows his wit." (—page 123, Ejazul Husan) "The young painter Saleem Mansoor....investigates new methods and techniques not only meant to widen the scope and definition of realism but also to discover fresh methods to stimulate the viewers' response. His 'painting' titled The Pakistani Avant-garde' is wittily fabricated with tan-gue-in-cheek humor making an apt comment on elitist attitudes and trends in modern art."—(page: 17, from the introduction of 5th National Exhibition by Ejazul Hasan).

Most helping and highly creative artist and multi media man Imran Mir in 1975 appreciated my work in high remarks when he was discussing with Bashir Mirza at Atelier BM. BM was telling him that before going to Canada what Imran observed in art scene was still the same when he returned after many years, that Ahmed Pervaiz is repeating Allen Davy, and Shakir Ali, Mansur Rahi and their students were repeating Picasso and Braque's cubism in Indian or Bengali styles and Jamil Naqsh, Lubna Agha, Mansur Aye, Mashkoor, and others are repeating the same compositions, Rabia Zuberi and Shahid Sajjad repeating Henry Moor and so on. Imran pointing towards my work replied: "he is the change"! and BM acknowledged it. Imran like Zahoor ul Akhlaque also absorbed important elements from my flashes but both only absorbed postmodern art-elements from my flashes (but they absorbed postmodern element from other sources also like we see in work of Herbert Bayer, Jennifer Bartlett, Ross Blacker, Sean Scully and etc), which not much is my concerned. During my slide show at NCA in 1981, Zahoor and his wife asked me about my future plan, they were surprised to hear that I will soon be joining Archaeology Department in some university because from inside I am an anthropologist also. All my work is not only a statement in anthropology, but is also a statement in neurology, physics, and other sciences. Imran sincerely wanted to bring post modern trends in the region, perhaps for variety he introduced me to many artists, for instance, one day Imran came to me and carried my work's photos in his car and took me to David Alesworth's house and showed my work to him and his wife Durriya and Imran told them to do something like that and after one month of that, Imran's wife Nighat, told me; "Mansoor! You know Durriya is taking your sort of Truck art from Karachi to Peshawar". Nighat was saying that because she much before this event has written an article in press on my 1977 Truck art collection and Sara Irshad has written on my 1981 work: "Taking art show on donkey cart to the folk". Durriya and David not only took the advantage of my flashes but others also followed similar ideology, for instance Ruby Chisti, Masooma Syed, Naiza Khan, Adeela Khan, Rashid Rana, Noorjehn Bilgramy, Huma Mulji, Farida Batool, Ali Raza, Sophie Ernst, Faiza But, M. Ali Talpur, Imran Qureshi, Ameen Gulgee, Jamal Shah, Nazish Ataullah, Aaisha Khalid, Risham Syed and many others who spread the ideology to Melbourne, Dubai, London, New York, etc.

Before their first thesis, IVSAA'S principal invited me for slide show of my work, but to my surprise only the faculty staff was invited and not the students. After a month or so one of the faculty member Kamran Hamid told me, "Mansoor go and see student's thesis at IVSAA where teachers has influenced students to do work which is similar to your ideology"." Now it is a tradition there. Even their very architecture is based on the ideology of some of my old flashes and on article published in press. Despite their ignorance I still like IVSAA for their spirit to move forward.

Against me, I even find wrong propaganda by hijackers of my work. And rather through lobby in media they even sensor or edit my interviews according to their need of representing me with those works which they have not preferred to hijack from my flashes. In Shisha, Shanakht, Carce, IVSAA, Fomma, VASL and VSDKU works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required. For commercial reason, they can ignore me too but future history will not. Local art magazine and art book writers were chased to ignore me If media is free or they have no lobby system, than why merit is ignored in my case, why Dawn's Gallery, The News, Jung, avoid covering my art shows. I also held slide show of the work at NCA in 1981, where Zahoor-ul-Akhlaque, his wife and his students saw the show. Salima Hashmi wrote an article on my exhibition at Alhambra gallery Lahore, in March, 1984. The effort bore its fruit, through historiography one can trace after 1981, the change in NCA and change in Zahoor, Ejazul Hasan, Salima Hashmi, Shahid Sajjad, Mehar Afroze, etc., and change in their younger generation of students. They and other agents and technology (since 1974 perhaps) spread the influence of my flashes abroad as well, for instance on Beverly Pepper, Nicole Eisenman, Anish Kapoor, Mohsin Zaidi, Susanne Kessler and etc. Etc. All the names mentioned above have the right to disagree with me, these are just friendly assumptions for researchers to look at such debate too to guess what the flashes are? I too was inspired by many but after receiving Flashes from nature, I painted these with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. I have no solo shows in prestigious gallery abroad I have no big post, scholarship or any sponsorship or awards, etc. But what Nature has given me in form of Flashes is more important that they are prototype for all time to come, back to the future or forward into the past. All artists are free to make anything they wish or according to market Forces but I have to make (for science) what I receive in form of flashes. Historiographicaly speaking Flashes' influence is more than what the work of Shakir Ali, Sadequein, Gulgee, M.F. Hussain and etc. had. But no comment I see in the catalogue of 2007- National exhibition, even the Karachiets have ignored me too, but not artchowk.com, I admire the support I am getting from people behind artchowk. I need Du'a to continue the mission, if possible Inshallah. ......MS

His Majesty King Charles III hosts a reception at Buckingham Palace for Heads of State and overseas visitors, 18th September 2022

Photography by Fergus Burnett

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Need a split-switch relay to allow the leisure battery to charge up properly. Currently a very poorly wired campervan.

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MPO Spliter

Lightroom

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Fossil of an Apatosaurus Upper Tail bones at the New York Natural History Museum

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Manual / Guide I Wrote

Most intermediate stations on the Waterbury Branch are low platform, requiring the fleet of Bombardier coaches to be equipped with steps and traps. July 8 '14. © 2014 Peter Ehrlich

Primitiva

Denny, Martin

Liberty LRP 3087

1958