View allAll Photos Tagged scroll
I also like it when I know both the person who created said scroll (On the left) and the person who received said scroll.
“The Ripley Scroll or “Ripley Scrowle” is one of the most important works (books) of Sir George Ripley, the alchemist. It is interesting to note that a Papal Decree of 1317 had forbidden the study into and publishing of alchemical texts and particularly forbade “clerics” from pursuing this subject and yet a little over a hundred years later Ripley seems to have dedicated his life to the pursuit of this science. The Ripley Scroll has been interpreted in many ways but still remains a mystery. Most scholars believe that the Ripley Scroll is the “recipe” for immortality but there are those that believe researchers have missed some crucial evidence. This mystery needs to be examined in much more depth in another section of this website. Perhaps Ripley may have known much, much more than seems obvious.”
This is a photograph from the sixth annual Donadea 50KM Ultramarathon which was held in Donadea Forest, Donadea, Naas, Co. Kildare, Ireland on Saturday 14th February 2015 at 10:00. The race was also an International Association of Ultrarunners Silver Label Event and the Athletics Association of Ireland (AAI) National 50KM Championships. There were 178 finishers.
Want to use this photograph or share it? Please read/scroll down a little further to find out how - it's very easy!
We have a full set of photographs from the event today on our Flickr photostream in the following album: www.flickr.com/photos/peterm7/sets/72157650821612375/
Donadea Forest Park is situated in rural north Kildare and is approximately 640 acres in size. The amenities at the forest include good walking trails, a diversity of natural habitats, a walled stream, a large natural lake, and the ruins of Donadea castle. The Park is a designated National Heritage Area. The basic designation for wildlife is the Natural Heritage Area (NHA). This is an area considered important for the habitats present or which holds species of plants and animals whose habitat needs protection. It is a special occasion to allow the 50KM to be held in this environment.
Timing, results, and event management was provided by RedTagTiming - results available at www.redtagtiming.com/
USING OUR PHOTOGRAPHS - A QUICK GUIDE
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
To animate view the image at original resolution (click all sizes) or simply scroll down.
From a stereograph titled "No. 72. Allen's Rock" in the series Allen's Stereoscopic views of Grand Monadnock Mountain Scenery and its surroundings, Jaffrey, N. H. Photographed and Published by W. F. Allen. East Jaffrey, N.H.
There is no mark definitively confirming the card's date of publication. It is believed that this is a circa 1875 product in the public domain. View the source image for more details and links to related images found on the internet. With the exception of sound recordings, all copyrightable material published before 1923 in the United States is now in the public domain due to expiration of the copyright. The derivative works presented here are placed under creative commons license.
This is a photograph from the Athlone 10KM and 5KM road races were held in Clonown Village, Co. Roscommon, Ireland on Sunday 27th of April 2013 at 14:00 and 14:30. Clonown is a small townland on the west bank of the River Shannon and is situated about 3 miles south of the town of Athlone. Whilst the townland is almost completely rural it is accessed easily from major routes and towns by the M6 motorway. The weather was perfect for today's race and participants enjoyed very warm spring sunshine. There was a slight breeze on certain parts of the course but overall it was a beautiful day for running. Over 200 people took part in both events.
We have an extensive set of photographs from today in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157644370027053/
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result/racetimer with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
This race completely defied the fact that it is only the third year of it's existence. Every aspect of the organisation was professional: from stewarting, registration, start of races exactly on time, car-parking, and post race refreshments. The 10KM route followed an anti-clockwise loop. The race started on the L2035 Togher Road (about 100m from Clonown Centre - see here on Google Streetview goo.gl/maps/xWj3i) and heads towards the old Ballinasloe Rd (emerging here - see on Google Streetview goo.gl/maps/P6rE8) and back via Creggan (turning off the main road at this point - see Google StreetView goo.gl/maps/wCHT0) with the finish at the Clonown Community Centre. The course turns at this point [goo.gl/maps/7sa6u] to return to the finish. The stretch from the exit off the Old Ballinasloe Road to the Creggan turn off brings the race through wide open bogland areas used in the peat extraction industry.
The 5KM run was added last year (2013) to provide a managable challenge for people who are following programmes such as Operation Transformation. The 5KM race route follows a different route around the townland. The race starts at the church in Clonown and head clockwise around the Ballinaculla townland which offers lovely views of the River Shannon. The route then goes to the Drumlosh road and runs for 1.5 km before the roundabout which is the 3km mark. The race then turns around and returns back to the village and finish at Clonown Community Centre. Both races share some of the race route for the Flatline Athlone Half held annually in September (www.athlonehalfmarathon.com/) which makes the race routes very fast and flat.
Location Map: This is the start/finish area on Google StreetView [goo.gl/maps/W0Hxc]
Some Useful Links
Pictures from 2013: www.flickr.com/photos/peterm7/sets/72157633350511183/
Garmin Connect GPS Trace of the 2013 10KM Route: connect.garmin.com/activity/306782605
The Clonown area on Google Streetview [goo.gl/maps/W0Hxc]
Facebook Page for the Athlone 10KM Race 2013 www.facebook.com/Athlone10krun?fref=ts
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
To see the animated image source scroll down to the first comment below or view original size (look above in the "actions" menu).
Details and History
The Library of Congress website offers a multitude of historical images, many with no known restrictions on use. This image is cropped from the 19th century Alexander Gardner stereograph titled Antietam, Md. President Lincoln and Gen. George B. McClellan in the general's tent. One month earlier Lincoln had appointed McClellan commander of the Army of the Potomac even though the General contributed to the Union defeat at Second Bull Run by withholding troops. Lincoln commented, "If he can't fight himself, he excels in making others ready to fight." He managed a tactical draw at Antietam (against Robert E. Lee) a mere two weeks into the job but failed to pursue the retreating Confederates. One month after this meeting McClellan was relieved of command.
Quick Links to related Animated Stereo Images
Images from the American Civil War (1861-1865).
Copyright Advisory
The purpose here is not to duplicate the original image, from the Library of Congress website, but to generate a downloadable animated gif to assist viewing and presentation. The original image has no known restrictions on use: www.loc.gov/pictures/item/cwp2003000145/PP/ .
Technical trivia
Image manipulations and gif generation done with StereoPhotoMaker, a freeware program by Masuji Suto & David Sykes.
A plaster cast of the scroll and pegbox of the Stradivari violin, "Red Diamond." Photo taken at the 2006 College of the Redwoods violin-making workshop, Eureka, California.
To read a bit more about the "Red Diamond", see
query.nytimes.com/gst/fullpage.html?res=9d03e1dc1f39f931a...
The story is essentially about the ideas in the film "The Red Violin" but does mention briefly the interesting near-death of the Red Diamond violin.
(for English scroll down)
* Survival AIDS Mummification Transformation *
Neuen Gesellschaft für bildende Kunst (nGbK)
Berlin - 16. Februar 2014
Eine Performance von Hunter Reynolds
In Zusammenarbeit mit Goran Tomcic
Mitwirkende: Goran Tomcic | Rik Mayda | Frank Merz | Marcelo Alves
Seit 1999 hat Hunter Reynolds über 25 "Mumifizierungen" in ganz Europa und den Vereinigten Staaten durchgeführt. In Verbindung mit der aktuellen Ausstellung LOVE AIDS RIOT SEX II in der Neuen Gesellschaft für bildende Kunst (nGbK), Berlin, hat Reynolds die "Survival AIDS Mummification Transformation" performt.
Diese seltenen Performances sind körperlich und emotional zermürbend und gleichzeitig inspirierend - sie evozieren sowohl Wiedergeburt als auch Wiederauferstehung. Seit über zwanzig Jahren nutzt Reynolds Fotografie, Performance und Installation, um seine Erfahrungen als HIV-positiver schwuler Mann auszudrücken. Bei der Gestaltung der Mumienhaut wird er mit Goran Tomcic zusammenarbeiten.
Goran Tomcic ist ein Künstler und Schriftsteller. Er wurde 1964 im ehemaligen Jugoslawien geboren, ist kroatischer und US-amerikanischer Staatsbürger und lebt und arbeitet derzeit in Berlin. Er hat einen MA in Curatorial Studies vom Center for Curatorial Studies am Bard College (1996). Seit 2000 stellt er seine Kunst international aus und ist Empfänger des Pollock-Krasner-Stipendiums (2007). Seine Gedichte und Kunstkritiken wurden seit Mitte der 80er Jahre international veröffentlicht.
Hunter Reynolds ist bildender Künstler, AIDS-Aktivist und Mitglied von Visual AIDS Artist. Er war ein frühes Mitglied von ACT UP New York und war 1989 Mitbegründer von Art Positive, einer ACT-UP-Affinitätsgruppe zur Bekämpfung von Homophobie und Zensur in der Kunst. Reynolds' Arbeiten beschäftigen sich mit Fragen der Geschlechtsidentität, der politischen, sozialen und sexuellen Geschichte, mit Trauer und Verlust, Überleben, Hoffnung und Heilung. Einige seiner bekanntesten Performance-Projekte sind "The Patina du Prey's Memorial Dress"; die Dokumentation über Reynolds Memorial Dress war Teil von LOVE AIDS RIOT SEX I (nGbK, Nov 2013 - Jan, 2014), "The Drag Pose Series", "Blood Spot Series" und "Mummification Series". Er hat an großen Performance-Projekten wie "The Banquet" mit Chrysanne Stathacos und "I-Dea - The Goddess" mit Maxine Henryson mitgearbeitet.
Hunter Reynolds wurde mit zahlreichen Stipendien und Aufenthaltsgenehmigungen ausgezeichnet, darunter mehrere Pollock-Krasner-Preise. Er hat zahlreiche Einzelausstellungen gehabt, darunter: PPOW Gallery, Participant Inc., Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Simon Watson Gallery, New York, NY; Creative Time, New York, NY; Momenta, Brooklyn, NY; Bernard Toale Gallery, Boston, MA; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; nGbK Berlin, Deutschland; und documenta, Kassel, Deutschland. Seine Werke befinden sich in zahlreichen öffentlichen und privaten Sammlungen, darunter das Chicago Art Institute, Yale und das Addison Andover. Die Fales Library and Special Collections/New York University hat kürzlich die Archive von Hunter Reynolds für ihre Downtown Collection erworben. Er wird von der PPOW Gallery vertreten.
"Kunst war schon immer eines der Mittel, die ich eingesetzt habe, um mich selbst und andere zu heilen und Ordnung in das Chaos meines Lebens zu bringen, indem ich nicht nur die Geschichte durch die Kunst erzählte, sondern mich selbst im Prozess des Schaffens verwandelte, indem ich sie nutzte, um mein Leben neu zu gestalten, Hoffnung und Schönheit zu finden und den Wunsch, lebendig zu sein." - Hunter Reynolds –
www.ppowgallery.com/artists/estate-of-hunter-reynolds#tab...
www.ppowgallery.com/exhibitions/hunter-reynolds2#tab:thum...
archiv.ngbk.de/projekte/love-aids-riot-sex-2/
____________________________________________________
* Survival AIDS Mummification Transformation *
New Society for Fine Arts (nGbK), Berlin - February 16, 2014
A performance by Hunter Reynolds
In collaboration with Goran Tomcic
Contributors: Goran Tomcic | Rik Mayda | Frank Merz | Marcelo Alves
Since 1999, Hunter Reynolds has performed over 25 "mummifications" throughout Europe and the United States. In conjunction with the current exhibition LOVE AIDS RIOT SEX II at the Neue Gesellschaft für bildende Kunst (nGbK), Berlin, Reynolds has performed the "Survival AIDS Mummification Transformation".
These rare performances are physically and emotionally grueling yet inspiring - evoking both rebirth and resurrection. For over twenty years, Reynolds has used photography, performance and installation to express his experiences as an HIV-positive gay man. He will be collaborating with Goran Tomcic on the design of the mummy skin.
Goran Tomcic is an artist and writer. He was born in 1964 in the former Yugoslavia, is a Croatian and US citizen and currently lives and works in Berlin. He holds an MA in Curatorial Studies from the Center for Curatorial Studies at Bard College (1996). He has exhibited his art internationally since 2000 and is a recipient of the Pollock-Krasner Fellowship (2007). His poetry and art criticism have been published internationally since the mid-1980s.
Hunter Reynolds is a visual artist, AIDS activist and member of Visual AIDS Artist. He was an early member of ACT UP New York and in 1989 co-founded Art Positive, an ACT UP affinity group to combat homophobia and censorship in the arts. Reynolds' work deals with issues of gender identity, political, social and sexual history, grief and loss, survival, hope and healing. Some of his best known performance projects include "The Patina du Prey's Memorial Dress"; the documentary about Reynolds Memorial Dress was part of LOVE AIDS RIOT SEX I (nGbK, Nov 2013 - Jan, 2014), "The Drag Pose Series", "Blood Spot Series" and "Mummification Series". He has collaborated on major performance projects such as "The Banquet" with Chrysanne Stathacos and "I-Dea - The Goddess" with Maxine Henryson.
Hunter Reynolds has been awarded numerous grants and residencies, including several Pollock-Krasner awards. He has had numerous solo exhibitions including: PPOW Gallery, Participant Inc, Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Simon Watson Gallery, New York, NY; Creative Time, New York, NY; Momenta, Brooklyn, NY; Bernard Toale Gallery, Boston, MA; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; nGbK Berlin, Germany; and documenta, Kassel, Germany. His work is in numerous public and private collections, including the Chicago Art Institute, Yale, and the Addison Andover. The Fales Library and Special Collections/New York University recently acquired Hunter Reynolds' archives for their Downtown Collection. He is represented by PPOW Gallery.
"Art has always been one of the tools I have used to heal myself and others and bring order to the chaos of my life, not only telling the story through art, but transforming myself in the process of creating, using it to reshape my life, finding hope and beauty and the desire to be alive." - Hunter Reynolds –
www.ppowgallery.com/artists/estate-of-hunter-reynolds#tab...
www.ppowgallery.com/exhibitions/hunter-reynolds2#tab:thum...
Scroll down for a larger size of the above image
As some of you may know [1], I'm having a small solo photographic installation at the 1600 E Olive Way Starbucks starting Thursday 3 April 2008, running through the end of the month.
It's a collection of transportation images from Taipei. No blue trucks, though. They don't work hot in black and white.
While it's small, this has been a great year for my development as a photographer. I've had photos in two books and now, two installations - with one of them being just my work.
If you're in Seattle, come check it out. Come buy something.
This card is not my best work; I'm way out of practice with graphic design! [2]
[1] After getting very excited phone calls from me last week. Heh.
[2] While making this, I kept wishing I had QuarkXpress 2.0 because I can use it really, really fast (a holdover from using it at a daily newspaper on deadline).
Along the River during Qingming Festival
Twenty-eight boats and ships are depicted on the river, which meanders through the entire length of the scroll.
An elegant narra Ah-Tay bed with unique adornments
Late 19th Century
Silay City, Negros Occidental
Narra wood, Solihiya
231 x 205 x 129 cm (91 x 80 3/4 x 50 3/4 in)
The headboard is carved with delicate tracery of scrolls and vines motifs, framed in ogee arch in the middle. The vines seem to have proliferated from the pumpkins carved on the supporting posts. The perfectly shaped halved pumpkin carved with deep ribs and pointed edges has become Ah-tay's famous signature that he incorporated in most of his beds.
The pumpkin, the narrow lyre-shaped scrolls, encased beads and grooved discs decorate the posts, ending with a stylized crowned pineapple topped with twisted finial, which serves as anchors for the canopy. Along all four sides of the canopy - under the vaulted center - are carved cluster of mangoes and leaves.
In most Ah-tay beds - original and copies alike - grapes, roses, acanthus leaves usually adorn this part; this is the first example of Ah-tay bed to have surfaced that features mangoes on the badge. A truly unique and significant detail. Mango is the national fruit of the Philippines and widely recognized as one of the best varieties in the world, if not the best.
One may inevitably speculate a possible fond and significant association of the original owner to the revered fruit for having them carved on the badge, thereby essentially honoring it. Supporting the refurbished woven solihiya sleeping surface are frames carved with similar scrolls, grooved discs and beads found on the posts; and rounded, tapered and robust-looking legs carved with disc rings and bun feet. The very fine workmanship of the carvings, down to the minute details, and the imposing regal elegance of this bed overall is testament to the lasting and mystical legacy of Ah-tay. It is extremely rare to find a bed of this age in its original patina and with an unusual mango motif.
Estimate PHP 400,000 - 430,000
Lot 419 of the Salcedo Auctions auction on 23 September 2017. Please see salcedoauctions.com for more details.
Ethiopic scroll dated to the 19th century. It contains a figurative depiction of the Trinity and an image of God or Jesus surrounded by the heads of Angels. The text itself is a collection of prayers against evil influences, such as the ‘evil eye’ and is written in Ge’ez script.
Mingana Collection, University of Birmingham, (Ethiopic 3)
382 Hewitt Road, Bristol, Vermont USA • Gothic Revival style, gable roof, 2 stories. Features: Gothic wall, dormer, bargeboard, Gothic Revival porch, distinctive lintleboards, fluted entry pilasters, sidelights, transom, distinctive door, cornice caps, Tudor arch, window fan, enriched entablature. Related barn, gazebo, shed. • Now operating as a delightful B&B.
☞ This structure is listed on the Vermont State Register of Historic Places. Source: Data excerpts from "The Historic Architecture of Addison County: including a listing of the Vermont State Register of Historic Places"; Vermont Division of Historic Preservation; Curtis B. Johnson, Editor; © 1992.
This exercise is meant to expand the thinking about guidelines even in Photoshop and therefore CorelDraw because of the sophisticated layers, sublayers and the dedicated guidelines in CorelDraw. It's always sad to see how much software is written without the study or even regard of others' applications. I don't use CorelDraw that much but every once in a while it is absolutely necessary to do some prep illustration in Corel and then drop a tiff into a Photoshop layer because of the extensive time element that can be trivialized in Corel.
The subject of the lesson is generating a paper scroll that can have text applied later. The concept was invented by a glassblower I know, James P. Clarke, Here is something like what I helped him with. It is a good carrier for a discussion of more sophisticated guidelines or even cheating guidelines:
The Scroll, Corel file is a demonstration of setting up advanced guidelines on the dedicated Guidelines layer in Corel. All objects applied to that dedicated layer will assume the assigned color and simple lines will assume the snap properties. The scroll guides were generated on a separate layer and then moved and dropped onto and become a sub-object on Corels Guidelines layer. Otherwise, create your own Guidelines layer in Photoshop.
Use the guideline scroll to develop your own paper object, color, texturize and antique it, like in the Scroll file.
The Scroll, Corel file shows the results of adding a text block, then an Envelope object to the text block and adding nodes to stretch and warp the enveloped text block. It is difficult to get the text to lay out realistically otherwise but you can handle it however you want.
Playing with a little prop scroll I made for a photo. It wasn't really visible in the pic it was meant for, so I tossed it out into the snow and took some solo shots.
Middle view of the previous wedding scroll invitation with gold paper / fabric (I still don't know) and a thin gold ribbon
Flags line the Clemson Universtiy Scroll of Honor the day before the Military Appreciation game Nov. 21, 2014. (Photo by Ken Scar)
Scroll-type acanthus leaf corbel
possibly dao
6" x 4 1/2" excluding base
original patina
merbau base
Available
English (*voor Nederlands scroll naar beneden)
Cordaid in northern Uganda
In the Imvepi refugee settlement in northern Uganda, 128.249 refugees from war-torn South Sudan are trying to pick up their lives again (March 2018). Imvepi is one of many settlements in Uganda and in total over one million people from South Sudan have crossed the border to Uganda in search of safety. When they arrived, they had no access to basic facilities and essential necessities like food and water.
Uganda has internationally been praised for its friendly 'open door' refugee policy but could understandably not handle this enormous crisis on its own. A large consortium of international NGOs stepped up and helped the Ugandan government to make sure the refugees are protected from disasters like famine, drought and the spreading of diseases.
In Imvepi, Cordaid has built a water supply system that produces up to 80.000 liters a day and serves thousands of people. The innovative solar-powered system is a sustainable alternative to watertrucking, which is an expensive way to transport water to all - sometimes remote - areas of the settlement. Although a necessary first response, with watertrucking the distribution of the minimum of 20 liters of water per person per day isn’t always reached.
Cordaid's water supply provides 22 liters per person per day to 4600 beneficiaries. Throughout the settlement, Cordaid has placed ten tapping stations to ensure easy access to clean and safe water for everyone in the area.
Providing water goes hand in hand with hygiene responsibility. Poor hygienic conditions could cause potentially deadly diseases to spread rapidly. That is why Cordaid constructed latrines around schools and busy marketplaces, as well as hundreds of household latrines. On top of that Cordaid works together with a team of refugees who promote good hygiene to the families through an educational entertainment program.
Through local partner organization Caritas Arua, Cordaid executes a livelihood program in which beneficiaries receive seeds and farming equipment to start growing crops for consumption and income generation by selling the products on the local market.
Cordaid’s activities in northern Uganda have been made possible by funds from the Dutch public donated to the national Giro555 famine campaign in March 2017.
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Nederlands
Cordaid in Noord-Oeganda
In het Imvepi vluchtelingenkamp in Noord-Oeganda zitten 128.249 vluchtelingen uit Zuid-Soedan (maart 2018). Zij zijn gevlucht voor de verschrikkingen van de oorlog in hun land en proberen hun leven weer op te pakken. In totaal zijn meer dan een miljoen Zuid-Soedanezen de grens overgestoken.
Bij aankomst in Oeganda ontbrak het ze aan de eerste levensbehoeften.
Oeganda vangt de vluchtelingen met open armen op, maar de overheid kan de enorme omvang van het probleem niet alleen aan.
Daarom is er een samenwerkingsverband in het leven geroepen van internationale hulporganisaties om ervoor te zorgen dat de vluchtelingen niet bezwijken aan de gevolgen van honger, droogte of de verspreiding van ziektes.
In het Imvepi-kamp heeft Cordaid watervoorzieningen gebouwd om 80.000 liter water per dag te verdelen onder duizenden mensen. Het moderne systeem, dat wordt aangedreven door zonne-energie, biedt een duurzaam alternatief voor 'watertrucking'. Dat is een dure methode om water te transporteren naar alle verre uithoeken van het uitgestrekte kamp.
Hoewel het noodzakelijk is om snel water bij mensen in nood te krijgen, lukt het vaak niet om hiermee iedereen te voorzien van het minimum van 20 liter per persoon per dag.
Het watersysteem van Cordaid levert 22 liter per persoon per dag aan 4600 mensen. Er zijn 10 waterpunten in het kamp gebouwd om ervoor te zorgen dat iedereen in het gebied makkelijk toegang heeft tot schoon drinkwater.
Bij het leveren van schoon en veilig water hoort ook goede hygiëne. Door slechte hygiënische omstandigheden kunnen gevaarlijke ziektes makkelijk verspreiden. Daarom heeft Cordaid latrines gebouwd rond schoolgebouwen en drukke marktplaatsen en wc's bij de hutten van families.
Ook heeft Cordaid een team van vluchtelingen samengesteld die op een aanstekelijke wijze met zang en dans langs de families gaan om betere en veilige hygiëne te promoten.
Tot slot zorgt Cordaid via partnerorganisatie Caritas Arua ook voor de verstrekking van zaden en landbouwgereedschappen, zodat vluchtelingen gewassen kunnen verbouwen. Voor consumptie en voor de verkoop op de markt.
De werkzaamheden van Cordaid in Noord-Oeganda zijn mogelijk gemaakt door de gulle donaties van het Nederlandse volk aan de actie ‘Help slachtoffers hongersnood’ in maart 2017.
From the right - 1 - my tiny chisel made from a flat bit - 2 - old Marples, my main scroll gouge, very fine cutting angle - 3 - old version Henry Tailor - 4 - old Sorby - 5 - new gouge form Bristol Design ( their own make ) for large eyes - 6 - new gouge for small eyes, curved end - 7 - my home made, inside ground gouge for cutting scross the throat.
Hansestadt Greifswald
Hanseatic Town Greifswald
Urlaub in Ostdeutschland
Besuch in Greifswald
Informationstafel
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(scroll down for English)
Europäische Route der Backsteingotik
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Markt 11
Mit dem an der Marktostseite gelegenen Haus Markt 11 hat sich eine der schmuckreichsten, vermutlich kurz nach 1400 errichteten Bürgerhausfassaden Norddeutschlands erhalten. Die mit Maßwerk und glasierten Formsteinen reich gegliederte Schaufront in Form eines Pfeiler-Stufengiebels gilt als eines der besten Beispiele mittelalterlicher und hanseatischer Backsteinbaukunst. Die flächige neugotische Gestaltung des Erdgeschosses erfolgte im Zuge eines Umbaues durch den Stadtbaumeister M. F. Becherer im Jahre 1856.
Im Gebäude haben sich neben den im 13. Jahrhundert entstandenen Grenzmauern zu den Nachbarhäusern die Dachkonstruktion und der Fachwerkrückgiebel aus der Zeit um 1700 sowie eine monumentale Treppenanlage von 1930 erhalten.
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European Route of Brick Gothic
Markt 11 (11 Market Place)
The house number 11 on the east side of the Market Place, probably built in the early 15th century, is one of the most highly decorated patrician house exteriors still standin in Northern Germany. The complexely segmented façade in the form of a pinnacle-step gable counts as one of the best examples of medieval and Hanseatic brick architecture.
The plainer neo-gothic surface of the ground floor derives from a reconstruction carries out by the town architect M. F. Becherer in 1856. Within the building, apart from the 13th century boundary walls dividing it from neighboring houses houses, the roof construction and the half-timbered rear gable from around 1700 have been preserved, as hast he monumental staircase from 1930.
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Project part-financed by the European Union
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