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A different view of the same little twigs and branches held together by string!
7 Days of Shooting Week #34 Multiples Texture Tuesday ....
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... thanks to you all.
GBRf Class 66/7 no 66787 stops at the signal ready to give way to 158865 on a service to somewhere on 18-10-2018
Gay marriage campaigners hold vigil outside House of Lords - London 03.06.2013
On June 3rd 2013 several hundred LGBT campaigners and supporters held a music-filled vigil opposite the House of Lords in hopeful anticipation of the Lords' second reading on June 4th of the Marriage (Same Sex Couples) Bill, following a concerted lobbying excercise of politicians and peers. As history now records, the Marriage (Same Sex Couples) Act 2013 was passed into British law on the 17th of July 2013, much to the dismay of religious zealots and homophobes everywhere.
Oddly enough, though the bill was passed several months ago, the UK has not descended into the sordid orgy of public sexual acts, bestiality, incest or enforced sodomy instruction in schools promised by the rancid religious fundamentalists and their utterly filthy, obsessive imaginings, and neither have the Four Horsemen of the Apocalypse been spotted thundering up Whitehall. Society has not collapsed, and, of course, traditional heterosexual marriage is not diminished one iota,
Funny, that... it's almost as if... as if...
All photos © 2013 Pete Riches
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This photography was taken at 2016 Bartlemy Ploughing Match that was held near Rathcormac County Cork
Four warthogs, all in the same pose, with their tails up in the air. No idea of that signifies anything. The male head of the family is leading the pack. Warthogs are extremely jittery, fleeing the slightest hint of perceived danger. They are actually trotting here, but the high shutter speed was enough to freeze them.
D02-0207-5DS04571
CLUES AS TO WHICH DALEKS ARE FAKE (COUNTERFEIT) AND WHICH ARE REAL (KIDROBOT)
MUSTACHE (blue) - fake eyebrows are closer to ] than ). The circles on each side of his face and the one on his stomach have a light color of paint in the middle ring - the fake daleks have no paint in the middle and let the base color (almost the same) shine through... but its not the same.
TEETH (pink) - The belt-line is uneven. colors tend to be less strong but more bright - all lines are heavy and thick, real daleks have delicate lines.
SQUARE EYES (black) - circles on each side of the face and stomach are the same as mustache/blue - white with just the color of the dunny. Real square-eye daleks have another ring of color (gray) and white in the circles. Also the circles on each side of the face are in reverse on the fake dunny - white on the outside and inside instead of the circle-ring like in the real one.
SMILEY (yellow) - the smile decal never goes all the way without breaking seriously (the real ones are very clean). If it stops and starts or has a noticeable seam, it's probably fake. The fake black smiley version never has a white nose - there's no nose. The real black smiley has a white nose.
ON ALL DALEKS, there are 3 general ways to tell if its real or fake.
1. FEET: the left foot is always stamped c (copyright symbol) above kidrobot:
c
kidrobot
That's what it always looks like, fake or real. But on the FAKE Daleks, the word 'kidrobot' is centered, so the c symbol is higher than the center line and it looks unbalanced. On the real dunny, the stamp is the same, except the space between 'c' and 'kidrobot' is centered on the foot, so both 'c' and 'kidrobot' are centered TOGETHER on the foot.
Basically holding it sideways (so text is upright), fake daleks look like the stamp is higher than center. (only the lower word is centered), and real daleks look like the stamp is centered right in the middle. (both words)
2. EARS: As you can see in the picture (but its easier to feel) - fake dalek ears are thicker and have flat fronts, and real dalek ears (any dunny) have ears that are more tapered and sculpted and round.
3. PAINT: Fake Daleks have varying paint jobs, some are close and some are far from the real ones. But if you turn the head around and look from underneath, you can see the paint line for the head - the vinyl isnt smooth and it looks really unfinished - like it was painted while on or painted and put on wet. The real dalek dunnys have flawless paint jobs that go all the way to the plug (that you cant even see without pulling the head out).
Feel free to add more notes.... we need to STOP FAKE DALEK DUNNYS from being sold! Most of the ones on ebay are fake - if they ever say 'dirty, used, abused, not-perfect' or are missing the ratio sheet and box, it's 99% likely to be a fake - even from a good seller who sells real products (they probably got it from someone else). Lately people have been selling fake dalek dunny boxes! I have some of these and will post the image - but they are really easy to tell. Like ALL DUNNYS, real dalek dunny boxes have tabs that glue down (so you cant open without buying) and the fake boxes have tabs that slot their way in so they can be opened and closed. And they dont have the ratio sheets. whew!
Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.
HISTORY
- Dravidian architecture - Badami Chalukyas
- Hindu temple architecture - Badami Chalukya architecture
- Political history of medieval Karnataka - Badami Chalukyas
- Architecture of Karnataka - Badami Chalukya architecture
- Chalukyas of Badami
PRE-HISTORIC
Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.
BADAMI CHALUKYAS AND OTHER DYNASTIES
MYTHOLOGY
The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.
BADAMI CHALUKYAS
It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.
The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.
The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.
Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.
INSCRIPTIONS
Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.
VATAPI GANAPATI
In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.
In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.
TOURISM
Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.
- A Buddhist cave in a natural setting that can be entered only by crawling on knees.
- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.
- Badami Fort situated on top of the hill.
- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.
- The Dattatreya temple.
- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.
- a Dargah, a dome of an Islamic place of worship on the south fort side.
- Vista points on top of the North Fort for the view of the ancient town below.
- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.
- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.
BADAMI CAVE TEMPLES
The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.
The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.
GEOGRAPHY
The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.
HISTORY OF CAVE TEMPLES
The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.
TEMPLE CAVES
The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.
The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.
CAVE 1
The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.
The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.
The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.
Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.
CAVE 2
Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.
The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.
The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.
The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.
CAVE 3
The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.
Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.
The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.
CAVE 4
The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.
CAVE 5
It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.
The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.
The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.
The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.
OTHER CAVES
In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.
OTHER TEMPLES AT BADAMI
On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.
Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.
The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.
BADAMI FORT
Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.
ETYMOLOGY
The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.
It is also believed that name Badami has come from colour of its stone (badam - Almond).
CULTURE
The main language is Kannada. The local population wears traditional Indian cotton wear.
GEOGRAPHY
Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.
It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.
WIKIPEDIA
Parish of St. Catherine of Siena
Samal, Bataan
Church of Samal
The spiritual ministration of Samal was entrusted to the Dominicans in 1596. The town was attacked by Dutch invaders in April, 1647, but the local Garrison of Pampangos under the command of Alejo Aguas compelled the Dutch forces to retreat. The Church and the Convent built by the Rev. Jeronimo Belen, O.P., were ruined during the Dutch invasions. In 1898 the church was burned by the Katipuneros to drive out their enemies in the convent. The Rev. Justo Quesada rebuilt the church and convent in 1905.
Philippine Historical Committee
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After we went surfing at Surfrider's Beach (starting at 5:30 AM) we headed on up to a private beach close to Zuma Beach!
Beautiful Surf Girl Bikini Swimsuit Model Goddesses!
I am refinishing these photos in Lightroom 5! They were tall, thin, fit, athletic goddesses! A blond and a brunette! The 45SURF goddesses were surfing on longboards that day close to the Malibu Lagoon on surfrider's beach, before we headed up to the private beach.
Shot with a Panasonic DMC-FZ50--a nifty little camera that still had a CCD in it, instead of the cmos sensor!
May the Hero's Journey Mythology Goddess inspire you (as they have inspired me!) along your own artistic journey!
A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
Johnny Ranger McCoy
Same mannequin but model on the left with makeup for Evil Queen, Fairy Tale window at Bloomingdales, NYC..2012
Same mannequin on the right for "Vintage Bodies", NYC....2013
(further information and pictures are available by clicking on the link at the end of section and of page!)
Synagogue St. Pölten
Exterior of the former St. Pölten Synagogue
The St. Pölten Synagogue was up to the November pogroms in 1938 the main synagogue of the Jewish Community of St. Pölten. The In the years 1912 to 1913 by the architects Theodor Schreier and Viktor Postelberg built Art Nouveau synagogue is located in the Dr. Karl Renner Promenade in St. Pölten and is now the headquarters of the Institute for Jewish History in Austria.
History
The old synagogue, which was demolished in favor of the new one
The first prayer rooms of in 1863 founded Jewish Community of St. Pölten were located in the premises of the former Kattunmanufaktur (cotton manufactory), the later Gasser factory at school ring. A building of this factory was adapted between 1885 and 1890 as a synagogue. This adaptation was associated with considerable effort, which is why the members of the Jewish community already since 1888 endeavoured to get a new building, until 1903 but this was rejected by the township. At this time, a redesign of the promenade was planned, which was only possible by demolition of the in the street course standing synagogue. After lengthy preparations, a preparatory committee was elected in April 1907, which in addition to building site and plans the necessary financing should provide.
1911, a building committee was chosen and agreed with the community a real estate exchange. At the architectural competition, which was tendered in the same year, participated among others Jacob Modern, Jacob Gartner, Ignaz Reiser and Theodor Schreier. The latter was together with his partner Viktor Postelberg by the Committee commissioned another project for a temple with room for 220 men and 150 women to submitt, which was then realized. The conditions for the planning work developed Rudolf Frass. The necessary funds were raised through collections and appeals for donations throughout the country, so that could be started with the construction in June 1912. The gilding works were carried out by Ferdinand Andri. After little more than a year of construction and 141 390 crowns total investment, the synagoge on 17 August 1913 was solemnly consecrated.
Destruction
On the night of 9th to the 10th November 1938 invaded several SS and SA members the rooms of the synagogue, smashed windows and set fire. The that night caused damage was limited, as the fire could be extinguished relatively quickly. On the following morning 300 to 400 people gathered, some in civilian clothes, in front of the building. They moved with the singing of political songs in the sacred spaces and destroyed them completely. The windows were broken, Torah scrolls, Torah shrine, benches and images burned. Even water pipes and door posts were torn from the walls. The books of the extensive library were largely thrown on the road and burned. Some people climbed the dome and tore the Star of David of the roof .
Almost all of the movable property of the Jewish community was destroyed or stolen . A limited set of books were placed in the city archives, the City Museum there's still a donation box and a painting of Emperor Franz Josef, which hung in the entrance area. A single prayer book is since 1998 owned again by the Jewish Community.
In the following years the side rooms of the building of the SA were used as an office, the interior was used among other things as furniture warehouse. 1942, the synagogue became the property of the city of St. Pölten, which used it as a detention center for Russian forced laborers. In last fightings and bombings in 1945 the building was further damaged.
1945
The Red Army used the former synagogue as a grain storage until it was in 1947 returned to the city. The application of restitution was recognized in 1952 by the city council, which then returned the synagogue to the Jewish Community Vienna. In the following years, the former house of God continued to decay as after the Holocaust no Jewish community in St. Pölten could establish. The domed roof showed severe damage, individual components were threatening to collapse completely and through the boarded windows came rain and snow into the by dovecotes populated house.
In 1975, the Jewish Community Vienna (IKG - Israelitische Kultusgemeinde Wien) offered the city of St. Pölten to purchase the synagogue, which did not accept the offer due to lack of uses. Then the Jewish Community Vienna wanted to initiate the demolition, but this was prevented by the fact that the Federal Monuments Office the building put under monument protection. Then it was renovated from 1980 to 1984. Here, for example, many wall paintings were recovered, on the other hand, some structural changes were made (especially removal of water basins for the ritual washing of the hands), since it was clear from the beginning that the building would not be used as a synagogue, but as an event center.
Since 1988 in the premises of the former synagogue the Institute for Jewish History of Austria is located, further regular events are realized. The original function the synagoge never could fulfill again, as too few Jews returned after the Holocaust to St. Pölten.
On the occasion of the 100th anniversary of the synagogue the City Museum in St. Pölten 2013/14 the building dedicates its own special exhibition. In doing so there is also shown a recently found photo of the interior before the destruction. It is also pointed out that the synagogue due to lack of funding already again is abandoned to a certain decay.
The St. Pölten rabbi
Interior of the synagogue with part of the dome ceiling, in the center of the former shrine
Name Period of office
Moritz Tintner 1863-1869
Adolf Kurrein 1873-1876
Samuel Marcus 1876-1878
Adolf Hahn 1878-1882
Jacob Reiss 1882-1889
Bernhard Zimmels 1889-1891
Leopold Weinsberg 1891-1897
Adolf Schächter 1897-1934
Arnold Frankfurt 1934-1936
Manfred Papo 1936-1938
Building description
Outside
The dominant element of the synagogue is the octagonal, completed by a large dome main building, to which the eastern and western side wings are attached. Connected to the synagogue is the former school building in Lederergasse 12.
Main tract
The main tract houses the former sanctuary. The facade is divided into a low ground floor, high upper floor and the dome. At the facade facing the street can be found in the two storeys each three windows, that are executed on the ground floor as low segmental arch windows with above running continuously cordon cornice. The windows on the upper floor, however, are high, rectangular windows, the space between them is divided by pilasters. The original stained glass windows were destroyed from 1938, today, clear glass can be found in the windows. Directly under the dome there is a large segment gable with representations of the Tablets of the Law, set in floral vines. Beneath it is written in Hebrew the text of Psalm 118, verse 19.
" פתחו לי שערי צדק אבא בם אודה יה "
"Open to me the gates of righteousness: I will enter and give thanks to God".
- Inscription under the law boards.
On the short, lateral oblique walls of the main building on the ground floor there are side entrances, in the transition to the dome there are embedded large oval windows.
Side wings
To the eastern side wing, which in comparison to the western tract is designed very narrowly, connects the former school building and was once home to the shrine. At the by segment gable and barrel roof completed tract can be found on the northern front in the upper floor a tall, rectangular window of the same type as that of the main wing. At the eastern side a round window is embedded, in the ground floor begins a connecting room to the school building.
The western side wing is identical to the east in the basic form, but it is significantly wider. In addition, in front of it there are entrance buildings. Both at the road side and on the opposite side between the main wing and the western annex are wide projecting semi-circular staircases, next to it can be found till half the height of the first upper floor each a buttress with two low windows. Road side, this buttress is preceded by a walk-in porch, which on three sides is open round-arched. The with triangular gable completed building ends in a concave enclosure, where a commemorative plaque is attached today. The west facade repeats the design of the main building, it can be found on the ground floor low segmental arch windows with above running continuously, jagged cordon cornice. On the first floor the windows are, however, significantly lower than in the main wing.
Former school building
The former school building has its main facade towards Lederergasse and there has the number 12. The road-side main facade of the two-storey building is divided into four axes. The window on the ground floor are round-arched disigned, the ones on the upper floor rectangularly. Between side wing of the synagogue and the main wing of the school building there is a tower-like, curved stairwell risalit up to the attic.
Gallery
Wall lamp
Wall ornament
Wall ornament
Wall ornament
de.wikipedia.org/wiki/Synagoge_St._P%C3%B6lten
(further information is available by clicking on the link at the end of page!)
History of the City St. Pölten
In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.
Tip
On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.
Prehistory
The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!
A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.
Roman period, migrations
The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.
The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.
The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.
Middle Ages
With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.
In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:
A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".
He must not be forced to rid himself of the accusation by a judgment of God.
A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.
From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.
The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.
Modern Times
In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.
That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.
To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.
A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.
Baroque
After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.
In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.
Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.
Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.
1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.
The 19th century
Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.
Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.
The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.
In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.
The 20th century
At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.
What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.
The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.
After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.
This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.
Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).
European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".
On the way into the 21st century
Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).
www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...
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Same shoe in previous photos the day originally lost, taken floating in the lake on 11/24/19. Saw a pro photograher taking photos of a little girl all dressed up across the lake. When I got to where they were I saw she only had one shoe on. Offered to try to get it with a long stick but the parents said not to worry about it. Surprised to see it still floating around the lake 3 months later on 2-29-20 after all the snows and ice. Just having fun recording its journey. :) I'm sure staff will be cleaning out the lake soon.
Masked tree frog (Smilisca phaeota) - Buenaventura Reserve, Ecuador
In light of the supreme court ruling that same-sex marraige was legal throughout the US today, here is a shot of two male Smilisca getting passionate. I saw the 2 amorous males calling from the same puddle and I wanted a shot highlighting the color difference between them. So I scooped them up and put them on a nearby branch, no sooner had I stepped back than the green male moved over and started grasping the brown male attempting to embrace him in what is known in frogs as amplexus. Amplexus is normally done between a male and female frog with the male ontop from where he fertilizes the females eggs as she releases them. Of course with two males no fertilization will occur, but as long as they're happy :)
I met Dan in the same supermarket as #90 Elena, he saw the photo shoot and joined in the conversation. He is an engineer and works all over the UK, installing cameras on vans (for insurance). He was in Staffordshire for work but comes from Scunthorpe. He was very relaxed and easy going about everything although it was the first time I did a photo shoot in a supermarket!
Thanks Dan!
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Same loco as yesterday so as the weather was so poor, with heavy rain, I tried a slightly different shot. 66075 4C46 10:50 Aberthaw PS to Tower Colliery with 21 empty HTA's northbound through Radyr nr Cardiff on the 23.05.2014
SAME PHOTO! which one do you prefer???
(cigarette + hat)
photo by ana.
(i raaaaarely smoke, so this was just for the photoshoot)
Same day, but linear shadows either sepia or black & white.
__________________________________________________
The program collects films that are asking the same questions: What was here before? And how can you show it if it’s not there anymore? When and how did absence turn into presence? Does it always do that?
It also connects places in East and West, New York, Berlin and Warsaw. Shanghai and Venice. Not only through images, but also through the people who made the films (and are in them): For them, 1984 had been fiction and 1989 a reality. They are from a generation that has been producing images and sounds before and after the Berlin Wall, in East and West, until today.
Program runtime is 62 minutes.
a-b-city by Dieter Hormel and Brigitte Bühler
BRD 1985, 8 minutes, digital projection
Accompanied by a score using music of Pere Ubu and Einstürzende Neubauten, a-b-city revolves around West-Berlin’s psychodelic atmosphere. Brigitte Bühler and Dieter Hormel, who were renown for their fast paced and skillfully edited Super-8 clips, mix TV images and time-lapse shots of nightly streets, drifting clouds, and a men continuously jumping in front of the Berlin Wall, bringing about an impression of the enclosed city that constantly shifts between ecstasis and depression. (Text: Florian Wüst)
Haunt No. 1-3 by Niklas Goldbach
2007, 2 minutes, digital projection
Haunt No. 1, Video Loop, 35 sec., Stereo
Assistance: Daniel Reuter
Haunt No. 2, Video Loop, 28 sec., Stereo
Assistance: Viktor Neumann
Haunt No. 3, Video Loop, 36 sec., Stereo
Assistance: Viktor Neumann
The video triptych focuses on the historical background and the future of up to now abandoned places in Berlin’s former working-class district Prenzlauer Berg where the gentrification process is almost accomplished.
5 lessons and 9 questions about Chinatown by Shelly Silver
USA, 2009, 10 minutes, digital projection
You live somewhere, walk down the same street 50, 100, 10,000 times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue,unseeing, possibly unseen. A building comes down, and before the next one is up you ask yourself ‘what used to be there?’ You are only vaguely aware of the district’s shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons, Chinatown.
View Excerpt
Former East/Former West by Shelly Silver
USA, 1994, excerpt 10-15 minutes digital projection
Made up of hundreds of street interviews done in Berlin two years after the Reunification, FORMER EAST/FORMER WEST is a vital, surprisingly open, and at times disturbing documentary. Silver questions the very notion of a shared language, focusing on changing definitions of words for political and economic systems – democracy, freedom, capitalism, socialism, nationality and history.
Magnetic [eye] Berlin by Gunter Krüger
Germany, 2007 / 08, excerpt 10 minutes, digital projection
Since 1997, Gunter Krüger has been archiving media fragments which he finds on the street – broken audiotapes, scraps of VHS and discarded compact discs. At the location he records additional filmic notes.
In the second part of the “Magnetic [eye]” series, “Magnetic [eye] Berlin”, a selection of media fragments forms a portrait of his living space. The film is designed as a generative structure, i.e. there is no final version.
In 2007 and 2008, three different playlists were made, each varying in both the selection of the media fragments as well as their compilation. By integrating new modules, new playlists with predefined running times can be created for each screening.
Nullpanorama by Martin Ebner
Germany, 2003, 1 minute, digital projection
The ascent and decent of an advertiser’s captive balloon over the roofs of the capital.
Proprio Aperto by Judith Hopf, Natascha Sadr Haghighian, Florian Zeyfang
Germany / USA, 2005, 6 minutes, digital projection
The single channel video and installation work PROPRIO APERTO, which was first presented in February 2005 at the Museum of Contemporary Art, Chicago in the exhibition, “Universal Experience: Art, Life and the Tourist’s Eye,” shows a walk taken through the giardini, the grounds of the Venice Biennale, in winter.
The conversations that took place there among Judith Hopf, Natascha Sadr-Hadhighian and Florian Zeyfang result in a text that circles around landscapes of ruin, ghosts and the Dasein in cultural hegemony. The images — actually photographs — are presented in slow pans, and the various levels of destruction of the pavilion come more and more into the center.
The tone of voice and language congenially conveys the suitably contemplative mood during the walk, which carries over to the spectator.
The Rooms (excerpt) by Tim Blue and Paul Rowley
USA 2010, 5 minutes, digital projection
With rich sound design and diverse formats, THE ROOMS is an experimental study of an abandoned world that somehow continues to operate. This excerpt feautures the HAU 1 / Hebbel am Ufer, a historical theater in Berlin, that turned into a cultural space for contemporary experimental and innovative theater and performance art (HAU 1).
We will be strong in our weakness. Notes from the first congress of the Jewish Renaissance in Poland.Performance by Yael Bartana with Susanne Sachsse and Slawomir Sierakowski
Israel/Netherlands/Poland, 2010, 15 minutes, digital video projection
Jewish Renaissance movement in Poland, Tel-Aviv/Amsterdam/Warsaw
Stefanie Schulte Strathaus is a film and video curator who lives and works in Berlin. She is Co-Director of Arsenal – Institute for Film and Video Art (with Milena Gregor and Birgit Kohler) and Member of the selection committee of the Berlinale Forum and founding director of Forum Expanded, a new section of the Berlin International Film Festival which negotiates the boundaries of cinema. Her curatorial work comprises numerous film programs, retrospectives and exhibitions, among them Michael Snow, Guy Maddin, Heinz Emigholz, Birgit Hein, Ulrike Ottinger, Stephen Dwoskin and many others. She recently co-curated (with Susanne Sachsse and Marc Siegel) LIVE FILM! JACK SMITH! Five Flaming Days in A Rented World (October 2009).
Her texts have been published in Frauen und Film, The Moving Image, Texte zur Kunst, Ästhetik & Kommunikation, Schriftenreihe Kinemathek as well as in various festival and exhibition catalogues. She is the editor of: Kinemathekheft Nr. 93: Germaine Dulac (with Sabine Nessel and Heide Schlüpmann), Berlin 2002; “The Memo Book. Films, Videos and Installations by Matthias Müller”, Berlin: Vorwerk 8, 2005; “The Primal Scene: Christine Noll Brinckmann. Films and Texts”, Berlin: arsenal edition, 2008; “Who says concrete doesn’t burn, have you tried? West Berlin Film in the ’80s” (with Florian Wüst), Berlin: arsenal edition, 2008. www.arsenal-berlin.de
Paul Rowley was born 1971 in Dublin. He has worked for more than ten years as a filmmaker and visual artist.
His critically acclaimed feature documentary Seaview, which he co-directed with Nicky Gogan, premiered at the Berlin Film Festival and has toured festivals internationally since.
Together with David Phillips, Paul completed a collection of films to accompany a live performance of John Cage’s Sonatas and Interludes, premiered at The Stone in New York in collaboration with pianist Emily Manzo. They recently completed a 60 screen permanent video installation in the international terminal at LAX airport.
Paul was artist in residence at the Atlantic Center for the Arts in Florida with Gillian Wearing, and has received many awards from the Irish Arts Council for his work since 1997. He was a fellow at the Macdowell Artist Colony in New Hampshire, and the Bogliasco Foundation, Italy. He was awarded a residency at the Experimental Television Center in New York, which led to a grant from NYCSA, the New York State Council for the Arts. He lives in Dublin and Brooklyn.
See also www.condensate.net and www.stillfilms.org
Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.
Silver’s work has been exhibited and broadcast widely throughout the U.S., Europe and Asia. Screenings and installations have been mounted by venues such as the Museum of Modern Art in New York, the International Center of Photography in New York, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the Pompidou Center, the Kyoto Museum, the London Institute of Contemporary Arts, the Museo Reina Sofia, and the London, Singapore, New York, Moscow, and Berlin film festivals. Her work has been broadcast on BBC/England, PBS/USA, Arte, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain. Silver’s numerous fellowships and grants include awards from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. She is based in New York where she is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.