Yellow flowers seemingly growing out of nothing.

Seemingly unworn and strategically placed outside Walgreen's abandoned shoes, Market St., San Francisco

With seemingly copious “paperwork” around the Cab Windows . Freightliner Class 66 Diesel Locomotive 66539 takes 4M63 0912 Felixstowe to Ditton ( O’Connor Freight Terminal ) through Stratford Station , East London .

Friday lunchtime 22nd-March-2019

The seemingly dedicated ECML/Kings Cross based 'Thunderbird' DB Schenker Class 67 No. 67028 sits in the sidings at Kings Cross in the company of West Coast Railways Class 33 No. 33207 awaiting the return of a steam special later in the day.

'The Filling Station' in the background used to be a BP Petrol station but is now converted to a bar/restaurant.

This seemingly innocuous rendering of downtown LA's Broadway Theater district illustrates the major changes ahead to the historic district. A new group, Bringing Back Broadway (.com) has organized city leaders and property owners into renovating their structures with a common goal of reigniting a spark into the bustling, but aged neighborhood. Sadly, the group has released this illustration which shows a bustling shopping district with theaters that have been stripped of their movie marquees and, in the case of the 1910 Cameo Theater, stripped of its original facade as well.

I recently wrote Councilman José Huizar who is supporting this initiative and I protested the group's illustrated plan to strip theater marquees and historic facades from the district. I received a reply from Jessica Wethington McLean, Huizar's Planning and Economic Development Director, who stated: "Be assured, none of the historic elements along Broadway are intended to be removed, in fact, they are intended to be restored as much as possible." Yet this rendering, published by the Bringing Back Broadway group, completely contradicts her words.

Perhaps the above illustration is incorrect. Perhaps the theater district's marquees will not be removed or any historic theater facades destroyed. Perhaps this rendering of the group's proposed plans are a mistake, but why is such a destructive mistake being promoted on the group's website?

I just don't know if I can trust Bringing Back Broadway based on this one rendered proposal. If this is their plan for the future of Broadway, I will not support it.

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Happy memorial day****

(From roller)****

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If you are suffering from lack of purchase; not sequestered out of your

mind (Should you have had one to begin with) And your funds are not totally

exhausted due to having had to move your liberal arts-majoring daughter out

from the apartment she was sharing with a boy who was on crack, who had

dropped out of school...Took her car, to boot, then, i'm your man.****

****

I have an electrolux upright, a gideon bible from the watergate hotel, and

a 1945 general electric, oscillating table fan. The motor was installed

backwards (At the factory)...So, you have to get behind the fan in order to

be blown - but, outside of that, it's a good un.****

****

I also have a love-uh-ly bunch of coconuts, and a couple (Well, maybe three

or four) Small love-uh-ly paintings. One example follows. If you wish to

receive images of others, plus all the nitty-gritty concerning this one,

but for the others as well, holler...Send an email. I will, in turn, send

you the complete scoop...Title, medium, size, how signed, how much, etc.****

****

Ps...About that gideon bible? All the pages with the exception of the first

page of the chapter of deuteronomy have been removed. Don't know why, and

have wondered about it since birth...****

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*Following is full title of the painting seen below:*****

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*Jimmy, baring his teeth, feigning a grin...Unwavering in his seemingly

ongoing, illimitable but faulted endeavor to spawn a consummated bar

mitzvah...This being perhaps his seventh or eighth? *****

****

*The blessings of the haftara having been read; jimmy unaware of his half

sister, naughty betty’S adjustment to the torque of his yarmulke propeller;

that even the most impuissant flurry of air might activate it effectively

to the point of scattering any candies at jimmy’S feet...Sending him

(Including the candies) Up past the tallest of brenda’S nut farm pecan

trees...Perhaps up past the moon - or for god’S sake - even up past uranus

- then on into the fathomless depths of space !!! *

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*Note*: ****

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Frame is museum quality, designed by the artist specifically for the

painting. Frame is hand carved from long leaf cedar, then traditionally

gilded with 23 k. Gold over a red clay bole. Frame is carved in an

adirondak motif featuring ****Garlands**** Of oak leaves, twigs, and

acorns. The back panel of the frame is supported by a hinged easel which

makes possible the display of the painting on a flat surface. Following,

please see an example of one of these easel frames properly displayed. You

are seeing a painting of kathleen in a crown which i have kept as part of

my own stash. The painting is included with a bunch of stuff on top of a

skirted table in my office. Family pictures...Flotsam and jetsam...****

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seemingly,its just a box

But

left click for one persons chair.

right click on the ball of a box for couple chair.

right click 27 couple animations ball.

second life

mame0414.blogspot.com/2008/12/horny-box.html

Seemingly every railfan in driving distance was trackside somewhere between Chicago and Boston this week as Amtrak's newly released 50th anniversary unit in Phase 6 red and blue paint hit the rails in revenue service for the first time leading the Lake Shore Limited, train 48 and 448 from Chicago and on to Boston. On Friday the same power flipped right back to Albany leading the Boston section (449) back west so I headed to a famous spot along the old Boston and Albany for my take.

Here is Amtrak P42DC 108 (GE blt. Aug. 1997) leading the train by one of the truly iconic railroad locations in all of New England. We are near milepost 75 in the Village of West Warren alongside the Quaboag River. The dam was built in 1890 to power the adjacent Wright Cotton Mill complex and the waterfall it created has been beloved by photographers ever since. Remarkably, the mill complex with buildings constructed in stages between 1866 and 1912 remained in industrial use until 2006.

Warren, Massachusetts

Friday July 30, 2021

This seemingly harmless Muskrat resembled the chillingly eerie Nosferatu from the old black and while silent film. It just stood in that frozen position for a goodly amount of time, before suddenly, as if coming out of a trance, slithered into the water to continue building its nest along the embankment with its mate in the foreground.

Mill Creek Marsh, with its vast array of wildlife, never ceases to amaze visitors of nature’s wonders, right here in the great metropolis. Seasonal changes always keep things interesting and fresh, with the wide range of migratory birds, furry critters, reptiles, insects, and flowers plus other plants appearing at different times of the year.

What makes the central landscape so unique is the fact that it was once a thriving white cedar forest centuries ago, only to be altered by man, but leaving the resilient stumps, hauntingly protruding from the marsh waters, while dramatically altering the scenery depending on the tide level and weather conditions. It is one of the most fascinating landscapes for photographers and nature enthusiasts. Magic hour—early in the morning or later in the day—is simply magnificent here, and the views toward any direction are unlike anything else. The lower tide stumps and the overall landscape is enhanced with the rich tones during those periods.

The main circuit trail is slightly over a mile in length, and the view of the aforementioned is always present. In addition, the New York City skyscrapers to the east can also be quite rewarding, with varying moods at any given time.

Check out some of the SETS related to the Meadowlands, including Mill Creek Marsh, Richard DeKorte Park, Mill Creek Point, and Laurel Hill Park.

CHECK OUT OUR OTHER ALBUMS FOR SOME GREAT LOCALES AND SUBJECTS . . .

Seemingly crazed Groove-billed Ani (Crotophaga sulcirostris).

Photographed Guanacaste coast, Costa Rica | January 2011.

For more from Costa Rica's Guanacaste coast, see my set Guanacaste

Explore #261

May 7, 2019 — You make choices every day about what to eat — an apple, Bibimbap, or Fruit Loops? “These are seemingly innocuous decisions, but the impacts of our choices ripple out beyond our plates, beyond our shelter, beyond our community,” says Becca Malloy, NMH science teacher and director of sustainability. Exploring the implications of our food choices is at the heart of NMH’s annual Food Systems Teach-In and Farmers’ Market.

On Friday, May 10, NMH will host local food and agriculture experts for a day of connecting, teaching, and selling their products. “The goal is to build educational connections between youth and adults and between the food producers and consumers of the Pioneer Valley,” Malloy says.

Guest speakers will visit classes to discuss topics such as identifying wild foods, how businesses source local food, and how the NMH farm produces food for the school community. Presenters include representatives from Real Pickles, Picadilly Farm, Crooked Stick Pops, Nutwood Farm, and Hillside Pizza, as well as NMH’s forester. One class will use the agricultural startup BrightFarms as a case study, examining whether local production systems are scalable.

NMH also will welcome some two dozen vendors of locally grown and crafted products at the educational farmer’s market from 11 am to 4 pm in Beveridge Bowl. It’s another opportunity to inspire young people to make informed food choices, and to network with diverse representatives of the Connecticut River Valley food system.

The annual teach-in is just one aspect of ongoing sustainability efforts at NMH. For instance, local foods appear throughout the year on students’ plates in the NMH dining hall, including some produced on campus at the NMH farm. Photography by Glenn Minshall.

Well, seemingly not much has happened at Superlo since I took those last photos, with the exception of whatever's going on behind the barrier in this front corner. It would be nice if this turns out to be a relocated deli, freeing up the current "deli island" to be used for other retail space (though it would be sad to see that island, original to the store, demolished). And as can be seen, a completely new look has come about for the décor in this little section (to be continued throughout the store eventually maybe?), only zooming in closer it seems a decision had yet to be reached on the type of material to be used on the roof of that overhang part (I vote for a corrugated roof myself)!

And no, no blueprints, and not even a permit has been posted that I've seen. (Could be a permit is posted at or near customer service, though I would think the city would require that to be posted at the front entrance, and if this were Hernando such a flagrant violation would have resulted in a STOP WORK ORDER many days ago)! EDIT: According to this previously posted blueprint from 2019, this will be a relocation of the floral department.

And since my photo uploading has turned out to be a rather rare occurrence as of late (unfortunately, though maybe I'll find more time for that when fall gets here), better include another flac list while I'm at it:

Porcupine Tree - Recordings

Zac Brown Band - The Foundation

Little River Band (421) - First Under the Wire (new)

3 Doors Down - Time of My Life (Deluxe Edition)

Phil Collins - Remixed Sides

Poets of the Fall - Carnival of Rust

TOOL - Ænima

Cavo - The Shakes (new)

Wilco - Shimlco

Papa Roach - Infest (UK Edition)

Crowded House - Crowded House

Theory of a Deadman - Scars & Souvenirs

Guano Apes (422) - Bel Air (Deluxe Edition)

Queen - News of the World

"Jabberwocky" is a nonsense poem written by Lewis Carroll about the killing of a creature named "the Jabberwock". It was included in his 1871 novel Through the Looking-Glass, and What Alice Found There, the sequel to Alice's Adventures in Wonderland. The book tells of Alice's adventures within the back-to-front world of Looking-Glass Land.

In an early scene in which she first encounters the chess piece characters White King and White Queen, Alice finds a book written in a seemingly unintelligible language. Realising that she is travelling through an inverted world, she recognises that the verses on the pages are written in mirror-writing. She holds a mirror to one of the poems and reads the reflected verse of "Jabberwocky". She finds the nonsense verse as puzzling as the odd land she has passed into, later revealed as a dreamscape.

"Jabberwocky" is considered one of the greatest nonsense poems written in English. Its playful, whimsical language has given English nonsense words and neologisms such as "galumphing" and "chortle".

A decade before the publication of Alice's Adventures in Wonderland and the sequel Through the Looking-Glass, Carroll wrote the first stanza to what would become "Jabberwocky" while in Croft on Tees, close to Darlington, where he lived as a child. It was printed in 1855 in Mischmasch, a periodical he wrote and illustrated for the amusement of his family. The piece was titled "Stanza of Anglo-Saxon Poetry" and read:

Twas bryllyg, and ye slythy toves

Did gyre and gymble in ye wabe:

All mimsy were ye borogoves;

And ye mome raths outgrabe.

Carroll wrote the letter-combination ye throughout the poem instead of the word the, using the letter Y in place of the letter þ (Thorn) in combination with the superscript E, as in þe, a common abbreviation for the word the in middle and early modern English, presumably to create a pseudo-archaic impression.

The rest of the poem was written during Carroll's stay with relatives at Whitburn, near Sunderland. The story may have been partly inspired by the local Sunderland area legend of the Lambton Worm, and the tale of the Sockburn Worm while writing in Croft on Tees and Whitburn in Sockburn.

The concept of nonsense verse was not original to Carroll, who would have known of chapbooks such as The World Turned Upside Down and stories such as "The Great Panjundrum". Nonsense existed in Shakespeare's work and was well-known in the Brothers Grimm's fairytales, some of which are called lying tales or lügenmärchen. Roger Lancelyn Green suggests that "Jabberwocky" is a parody of the old German ballad "The Shepherd of the Giant Mountains" in which a shepherd kills a griffin that is attacking his sheep. The ballad had been translated into English in blank verse by Carroll's cousin Menella Bute Smedley in 1846, many years before the appearance of the Alice books. Historian Sean B. Palmer suggests that Carroll was inspired by a section from Shakespeare's Hamlet, citing the lines: "The graves stood tenantless, and the sheeted dead/Did squeak and gibber in the Roman streets" from Act I, Scene i.

John Tenniel reluctantly agreed to illustrate the book in 1871, and his illustrations are still the defining images of the poem. The illustration of the Jabberwock may reflect the contemporary Victorian obsession with natural history and the fast-evolving sciences of palaeontology and geology. Stephen Prickett notes that in the context of Darwin and Mantell's publications and vast exhibitions of dinosaurs, such as those at the Crystal Palace from 1854, it is unsurprising that Tenniel gave the Jabberwock "the leathery wings of a pterodactyl and the long scaly neck and tail of a sauropod."

"Jabberwocky"

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogoves,

And the mome raths outgrabe.

“Beware the Jabberwock, my son!

The jaws that bite, the claws that catch!

Beware the Jubjub bird, and shun

The frumious Bandersnatch!”

He took his vorpal sword in hand:

Long time the manxome foe he sought—

So rested he by the Tumtum tree,

And stood awhile in thought.

And as in uffish thought he stood,

The Jabberwock, with eyes of flame,

Came whiffling through the tulgey wood,

And burbled as it came!

One, two! One, two! And through and through

The vorpal blade went snicker-snack!

He left it dead, and with its head

He went galumphing back.

“And hast thou slain the Jabberwock?

Come to my arms, my beamish boy!

O frabjous day! Callooh! Callay!”

He chortled in his joy.

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogoves,

And the mome raths outgrabe.

from Through the Looking-Glass, and

What Alice Found There (1871)

Many of the words in the poem are playful nonce words of Carroll's own invention, without intended explicit meaning. When Alice has finished reading the poem she gives her impressions:

"It seems very pretty," she said when she had finished it, "but it's rather hard to understand!" (You see she didn't like to confess, even to herself, that she couldn't make it out at all.) "Somehow it seems to fill my head with ideas—only I don't exactly know what they are! However, somebody killed something: that's clear, at any rate."

This may reflect Carroll's intention for his readership; the poem is, after all, part of a dream. In later writings he discussed some of his lexicon, commenting that he did not know the specific meanings or sources of some of the words; the linguistic ambiguity and uncertainty throughout both the book and the poem may largely be the point.

In Through the Looking-Glass, the character of Humpty Dumpty, in response to Alice's request, explains to her the non-sense words from the first stanza of the poem; however, Carroll's personal commentary on several of the words differ from Humpty's. For example, following the poem, a "rath" is described by Humpty as "a sort of green pig". Carroll's notes for the original in Mischmasch suggest a "rath" is "a species of Badger" that "lived chiefly on cheese" and had smooth white hair, long hind legs, and short horns like a stag. The appendices to certain Looking Glass editions, however, state that the creature is "a species of land turtle" that lived on swallows and oysters. Later critics added their own interpretations of the lexicon, often without reference to Carroll's own contextual commentary. An extended analysis of the poem and Carroll's commentary is given in the book The Annotated Alice by Martin Gardner.

In 1868 Carroll asked his publishers, Macmillan, "Have you any means, or can you find any, for printing a page or two in the next volume of Alice in reverse?" It may be that Carroll was wanting to print the whole poem in mirror writing. Macmillan responded that it would cost a great deal more to do, and this may have dissuaded him.

In the author's note to the Christmas 1896 edition of Through the Looking-Glass Carroll writes, "The new words, in the poem Jabberwocky, have given rise to some differences of opinion as to their pronunciation, so it may be well to give instructions on that point also. Pronounce 'slithy' as if it were the two words, 'sly, thee': make the 'g' hard in 'gyre' and 'gimble': and pronounce 'rath' to rhyme with 'bath.'"

In the Preface to The Hunting of the Snark, Carroll wrote, "[Let] me take this opportunity of answering a question that has often been asked me, how to pronounce "slithy toves." The "i" in "slithy" is long, as in "writhe", and "toves" is pronounced so as to rhyme with "groves." Again, the first "o" in "borogoves" is pronounced like the "o" in "borrow." I have heard people try to give it the sound of the "o" in "worry." Such is Human Perversity."

Bandersnatch: A swift moving creature with snapping jaws, capable of extending its neck. A 'bander' was also an archaic word for a 'leader', suggesting that a 'bandersnatch' might be an animal that hunts the leader of a group.

Beamish: Radiantly beaming, happy, cheerful. Although Carroll may have believed he had coined this word, usage in 1530 is cited in the Oxford English Dictionary.

Borogove: Following the poem Humpty Dumpty says: " 'borogove' is a thin shabby-looking bird with its feathers sticking out all round, something like a live mop." In explanatory book notes Carroll describes it further as "an extinct kind of Parrot. They had no wings, beaks turned up, made their nests under sun-dials and lived on veal." In Hunting of the Snark, Carroll says that the initial syllable of borogove is pronounced as in borrow rather than as in worry.

Brillig: Following the poem, the character of Humpty Dumpty comments: " 'Brillig' means four o'clock in the afternoon, the time when you begin broiling things for dinner." According to Mischmasch, it is derived from the verb to bryl or broil.

Burbled: In a letter of December 1877, Carroll notes that "burble" could be a mixture of the three verbs 'bleat', 'murmur', and 'warble', although he did not remember creating it.

Chortled: "Combination of 'chuckle' and 'snort'." (OED)

Frabjous: Possibly a blend of fair, fabulous, and joyous. Definition from Oxford English Dictionary, credited to Lewis Carroll.

Frumious: Combination of "fuming" and "furious". In the Preface to The Hunting of the Snark Carroll comments, "[T]ake the two words 'fuming' and 'furious'. Make up your mind that you will say both words, but leave it unsettled which you will say first. Now open your mouth and speak. If your thoughts incline ever so little towards 'fuming', you will say 'fuming-furious'; if they turn, by even a hair's breadth, towards 'furious', you will say 'furious-fuming'; but if you have the rarest of gifts, a perfectly balanced mind, you will say 'frumious'."

Galumphing: Perhaps used in the poem as a blend of 'gallop' and 'triumphant'. Used later by Kipling, and cited by Webster as "To move with a clumsy and heavy tread"

Gimble: Humpty comments that it means: "to make holes like a gimlet."

Gyre: "To 'gyre' is to go round and round like a gyroscope."[18] Gyre is entered in the OED from 1420, meaning a circular or spiral motion or form; especially a giant circular oceanic surface current. However, Carroll also wrote in Mischmasch that it meant to scratch like a dog. The g is pronounced like the /g/ in gold, not like gem (since this was how "gyroscope" was pronounced in Carroll's day).

Jabberwock: When a class in the Girls' Latin School in Boston asked Carroll's permission to name their school magazine The Jabberwock, he replied: "The Anglo-Saxon word 'wocer' or 'wocor' signifies 'offspring' or 'fruit'. Taking 'jabber' in its ordinary acceptation of 'excited and voluble discussion', this would give the meaning of 'the result of much excited and voluble discussion'..." It is often depicted as a monster similar to a dragon. In the above old image it has four legs and also bat-like wings. In Alice in Wonderland (2010 film) it is shown with back legs only, and on the ground it uses its wings as front legs like a pterosaur, and it breathes out lightning flashes rather than flame.

Jubjub bird: 'A desperate bird that lives in perpetual passion', according to the Butcher in Carroll's later poem The Hunting of the Snark. 'Jub' is an ancient word for a jerkin or a dialect word for the trot of a horse (OED). It might make reference to the call of the bird resembling the sound "jub, jub".

Manxome: Possibly 'fearsome'; Possibly a portmanteau of "manly" and "buxom", the latter relating to men for most of its history; or "three-legged" after the Triskelion emblem of the Manx people from the Isle of Man.

Mimsy: Humpty comments that " 'Mimsy' is 'flimsy and miserable' ".

Mome: Humpty Dumpty is uncertain about this one: "I think it's short for 'from home', meaning that they'd lost their way, you know". The notes in Mischmasch give a different definition of 'grave' (via 'solemome', 'solemone' and 'solemn').

Outgrabe: Humpty says " 'outgribing' is something between bellowing and whistling, with a kind of sneeze in the middle".[18] Carroll's book appendices suggest it is the past tense of the verb to 'outgribe', connected with the old verb to 'grike' or 'shrike', which derived 'shriek' and 'creak' and hence 'squeak'.

Rath: Humpty Dumpty says following the poem: "A 'rath' is a sort of green pig". Carroll's notes for the original in Mischmasch state that a 'Rath' is "a species of land turtle. Head erect, mouth like a shark, the front forelegs curved out so that the animal walked on its knees, smooth green body, lived on swallows and oysters." In the 1951 animated film adaptation of the previous book, the raths are depicted as small, multi-coloured creatures with tufty hair, round eyes, and long legs resembling pipe stems.

Slithy: Humpty Dumpty says: " 'Slithy' means 'lithe and slimy'. 'Lithe' is the same as 'active'. You see it's like a portmanteau, there are two meanings packed up into one word." The original in Mischmasch notes that 'slithy' means "smooth and active" The i is long, as in writhe.

Snicker-snack: possibly related to the large knife, the snickersnee.

Tove: Humpty Dumpty says " 'Toves' are something like badgers, they're something like lizards, and they're something like corkscrews. [...] Also they make their nests under sun-dials, also they live on cheese." Pronounced so as to rhyme with groves. They "gyre and gimble," i.e., rotate and bore. Toves are described slightly differently in Mischmasch: "a species of Badger [which] had smooth white hair, long hind legs, and short horns like a stag [and] lived chiefly on cheese".

Tulgey: Carroll himself said he could give no source for Tulgey. Could be taken to mean thick, dense, dark. It has been suggested that it comes from the Anglo-Cornish word "Tulgu", 'darkness', which in turn comes from the Cornish language "Tewolgow" 'darkness, gloominess'.

Uffish: Carroll noted "It seemed to suggest a state of mind when the voice is gruffish, the manner roughish, and the temper huffish".

Vorpal: Carroll said he could not explain this word, though it has been noted that it can be formed by taking letters alternately from "verbal" and "gospel".

Wabe: The characters in the poem suggest it means "The grass plot around a sundial", called a 'wa-be' because it "goes a long way before it, and a long way behind it". In the original Mischmasch text, Carroll states a 'wabe' is "the side of a hill (from its being soaked by rain)".

Though the poem contains many nonsensical words, English syntax and poetic forms are observed, such as the quatrain verses, the general ABAB rhyme scheme and the iambic meter. Linguist Peter Lucas believes the "nonsense" term is inaccurate. The poem relies on a distortion of sense rather than "non-sense", allowing the reader to infer meaning and therefore engage with narrative while lexical allusions swim under the surface of the poem.

Marnie Parsons describes the work as a "semiotic catastrophe", arguing that the words create a discernible narrative within the structure of the poem, though the reader cannot know what they symbolise. She argues that Humpty tries, after the recitation, to "ground" the unruly multiplicities of meaning with definitions, but cannot succeed as both the book and the poem are playgrounds for the "carnivalised aspect of language". Parsons suggests that this is mirrored in the prosody of the poem: in the tussle between the tetrameter in the first three lines of each stanza and trimeter in the last lines, such that one undercuts the other and we are left off balance, like the poem's hero.

Carroll wrote many poem parodies such as "Twinkle, twinkle little bat", "You Are Old, Father William" and "How Doth the Little Crocodile?" Some have become generally better known than the originals on which they are based, and this is certainly the case with "Jabberwocky". The poems' successes do not rely on any recognition or association of the poems that they parody. Lucas suggests that the original poems provide a strong container but Carroll's works are famous precisely because of their random, surreal quality. Carroll's grave playfulness has been compared with that of the poet Edward Lear; there are also parallels with the work of Gerard Manley Hopkins in the frequent use of soundplay, alliteration, created-language and portmanteau. Both writers were Carroll's contemporaries.

"Jabberwocky" has been translated into numerous languages, as the novel has been translated into 65 languages. The translation might be difficult because the poem holds to English syntax and many of the principal words of the poem are invented. Translators have generally dealt with them by creating equivalent words of their own. Often these are similar in spelling or sound to Carroll's while respecting the morphology of the language they are being translated into. In Frank L. Warrin's French translation, "'Twas brillig" becomes "Il brilgue". In instances like this, both the original and the invented words echo actual words of Carroll's lexicon, but not necessarily ones with similar meanings. Translators have invented words which draw on root words with meanings similar to the English roots used by Carroll. Douglas Hofstadter noted in his essay "Translations of Jabberwocky", the word 'slithy', for example, echoes the English 'slimy', 'slither', 'slippery', 'lithe' and 'sly'. A French translation that uses 'lubricilleux' for 'slithy', evokes French words like 'lubrifier' (to lubricate) to give an impression of a meaning similar to that of Carroll's word. In his exploration of the translation challenge, Hofstadter asks "what if a word does exist, but it is very intellectual-sounding and Latinate ('lubricilleux'), rather than earthy and Anglo-Saxon ('slithy')? Perhaps 'huilasse' would be better than 'lubricilleux'? Or does the Latin origin of the word 'lubricilleux' not make itself felt to a speaker of French in the way that it would if it were an English word ('lubricilious', perhaps)? ".

Hofstadter also notes that it makes a great difference whether the poem is translated in isolation or as part of a translation of the novel. In the latter case the translator must, through Humpty Dumpty, supply explanations of the invented words. But, he suggests, "even in this pathologically difficult case of translation, there seems to be some rough equivalence obtainable, a kind of rough isomorphism, partly global, partly local, between the brains of all the readers".

In 1967, D.G. Orlovskaya wrote a popular Russian translation of "Jabberwocky" entitled "Barmaglot" ("Бармаглот"). She translated "Barmaglot" for "Jabberwock", "Brandashmyg" for "Bandersnatch" while "myumsiki" ("мюмзики") echoes "mimsy". Full translations of "Jabberwocky" into French and German can be found in The Annotated Alice along with a discussion of why some translation decisions were made. Chao Yuen Ren, a Chinese linguist, translated the poem into Chinese by inventing characters to imitate what Rob Gifford of National Public Radio refers to as the "slithy toves that gyred and gimbled in the wabe of Carroll's original". Satyajit Ray, a film-maker, translated the work into Bengali and concrete poet Augusto de Campos created a Brazilian Portuguese version. There is also an Arabic translation by Wael Al-Mahdi, and at least two into Serbo-Croatian. Multiple translations into Latin were made within the first weeks of Carroll's original publication. In a 1964 article, M. L. West published two versions of the poem in Ancient Greek that exemplify the respective styles of the epic poets Homer and Nonnus (Wikipedia).

decontextualized concept i did for a project

Loved this.

Seemingly now without an MOT since July 2024, this one had a hefty fail in 2023 but was sorted again; but has not been retested.

I think I have the name right, I don't recall ever seeing a 'Troopy' previously. Imported in 2018, where it appears to have been for sale at £15k.

These stairs are seemingly in the middle of nowhere out in the Lost Dutchman State Park. In reality, they are just part of the trail leading to the top of the Flatiron cliffs in the background.

This is an HDR from a single RAW file, I tend to not do that too often, but I thought this one didn't look so bad and I really wanted to keep the detail in the flowers and stairs.

With the weather seemingly on the turn it seems a fine time to bring out this lovely little ray of sunshine. As we begin to realise there is life after winter and start making plans for summer surely everyone looks forward to drinks, barbecues, holidays and sunbathing. Well this young lady is already there and clearly enjoying it.

The line 'crotch hot and happy' comes from a book called Bastion Falls by Susie Maloney and for some reason this obviously had some resonance with me. After the mandatory gestation period from reading the book to coming up with a design this is what came forth...

Cheers

id-iom

Title: Crotch hot & happy

Media: Acrylic, spraypaint and stencils, ink & paint pen

Size: 60 x 60 deep edge canvas

SOLD

Though this was the typical extent of 'views' on this crossing, one could still appreciate the (seemingly) simple, elegant design of the Bridge's details.

The proposal to build a bridge across the Golden Gate, the mile-wide strait between San Francisco Bay and the Pacific Ocean, was first (substantially) made in 1916; Chief Engineer Joseph Strauss can certainly be credited with steering the project through the objections of vested interests (such as ferry operators!) by the mid-20s, campaigning for funding then getting the Bridge built 1933-377, with the loss of only 11 lives to falls – a safety net beneath workers was a notable innovation (10 of those deaths were due to a single incident which ripped away the net too).

However, though he also took credit for the design, Strauss actually had negligible experience of cable-suspension engineering, and the true designers of the Bridge were only given due credit much later: senior engineer Charles Ellis performed the technical and theoretical work, whilst the graceful, Art Deco design of the towers, lighting and furniture was by consulting architect Irving Morrow. At the time, the future Professor Ellis, author of the standard textbook on structural design, had yet to achive his bachelor's degree, whilst Morrow was a relatively unknown residential architect, so it's unsurprising that expert (self-)promoter Strauss was able to claim credit.

For 27 years, the Golden Gate Bridge's main suspension span was the world's longest, at 1,280 m, until being overtaken in 1964; it's now now ninth (or tenth?) worldwide and second in the USA, but remains one of the most iconic structures on the planet. Its total length is 2,737 m, which happens to be one hundred times its width of 27.4 m. The deck is about 75 m above the water, with ~67 m clearance below at high tide.

As mentioned, Morrow's design for the overall structure extended to the smaller features too, including these streamlined, Art Deco lampposts and minimalist railings which facilitate unobstructed views of the Bay and ocean. He was also responsible for choosing the 'International Orange' colour of the Bridge, to increase its visibility in fog whilst complementing its natural setting in clearer weather.

The unimaginable weight of the deck is suspended from two continuous cables which pass over the two 227m-tall towers and are fixed in concrete at each end of the Bridge. Each cable contains 27,572 strands of wire; in total, the Bridge contains 129,000 km of steel wire. It's scary that it's even considered necessary to install barriers preventing people from ascending the main cables....

The Bridge carries U.S. Highway 101 and California State Route 1 (~110,000 vehicles per day, plus pedestrians and cyclists on side lanes) across the Golden Gate from San Francisco to Marin County (and even vice versa), though technically it's not part of the California Highway System and is a distinct entity in the National Highway System, so the numbered routes end and restart on the bridge approaches.

Traffic flows across the Bridge are regulated according to need; four of the six lanes are southbound during weekday mornings, bringing commuters into the city, and northbound for the evening rush hour. At other times, traffic uses three lanes in each direction, or one is withdrawn as a buffer.

This is achieved through the manual placement of plastic median markers: somewhat labour-intensive, and a less-than-ideal means of separating oncoming vehicles: head-on collisions resulted in 16 fatalities 1971-2007. A 'proper' movable barrier is finally due to be installed in late 2014, for which the Bridge will undergo its longest closure yet, of 52 hours.

Incidentally, weather conditions (presumably extreme winds) have only closed the Bridge three times in its history.

Sitting at the end of a dirt road, seemingly lost in time, sits Saragossa Plantation. A simple home that rests atop a hill carpeted by soft ground cover and vegetation remnant of what was once I’m sure, beautiful flower gardens. Left now to grow wild, they carpet the ground under the shade of dozens of 200 year old live oaks. I visited Saragossa for the first time on a cool winter morning and was taken back by the solitude and quietness as I watched the morning sun shine brightly through the strands of Spanish moss hanging from the ancient trees marking the dawn of yet another day at Saragossa. No longer does the rising sun signal the start of a work day with bells echoing their song, or the laughter of children, or the hustle and bustle of life on a plantation but rather, silence only broken by the sound of birds chirping in the start of a new day.

History: Saragossa Plantation is located a few miles outside the town of Natchez in Adams County, Mississippi. It was established in the 1820s by Stephen Duncan who reputedly became the wealthiest cotton planter in the world. At the height of his career, he owned over 1000 slaves. Saragossa was just one of his many plantations.

Main House: Originally the overseer's house and consisted of two rooms, each with a fireplace built in the 1820’s. In the 1850s when the property was purchased by the Smith family, this house was enlarged. Smith family descendants continued to occupy this house until the 1980s.

Time, and Regret.

A speech by Nathan Price.

This speech is something I will perform soon. It also relates to the topic

of all these photo's.

Part One-Time

86400 thousand seconds in a day. 604,800 thousand seconds in a week.

These aren’t small numbers, yet when converted to seconds they seem to lack importance. Yet seconds are extremely important, how important? In a second you can blink, breathe, speak, crash. With just a second you can do so many things. Now think about how much you could do with a minute, an hour, a day. Think about how important time is. Yet we seemingly don’t value it as much as certain other things. Money, Looks, Status, just to name a few. These trivialities have much greater weight than time does, yet when our time is up, they are seemingly the things we regret caring about the most. Today.com did a whole segment on the regrets people with very little time left had. 3 of the 8 lessons the people gave related to time, and how they wish they didn’t waste it on trivial things. How they regretted some aspects of their life.

Unless it’s something you love, than it should be considered a waste time right?Well no, movies, television and reading may considered a waste of time. But it’s just a waste of free time. Not actual time. Of course you’ve could’ve done something more productive, but how would that be better use of your time? Why regret having those good times?

There’s been so many moments in my life, where I could’ve spent more time with a friends, more time with a family member, and choose not to. I choose to waste the time on something else. I wasn’t wasting time that I had already free, I was purely just wasting it. Or is it wasting it? Should I regret the time I missed with them, or enjoy the time I had with them?

Part Two-Regret

Regret is the opposite of what I’m trying to speak on. It directly counteracts appreciation. As we all know, one regret leads to the next. And the next thing you know your in a rabbit hole. Which of course is actual waste of time. For every ten good memories I have, there is one regret alongside it. Which according to two Cornell sociology professors is quite common. According to there study, 47% of people studied regretted inaction vs action. As time progresses however those numbers increase dramatically. People of older age regret 86% inaction vs there actions. Yet why should regret either? The same study shows that humans tend to over value the times we didn’t take, over the times we did. So did I actually waste my time not being with them, or am I merely overvaluing it as I can’t have that same time with them now? See as I made this speech I realized how much I should appreciate the time I have. The fact that I had a step dad to help me with this speech. The fact that I still have time with my grandparents. The fact that I still have time.

Let’s say though you could avoid all regret, via very smart choices. Where could you even start? The first step in my opinion, is finding what you love to do. And chasing after it. It may be a low paying job, it may be a long journey to get to where you love. But no matter what you should chase it. One of the most common regrets I’ve seen is from people who didn’t go through with their love. But settled for something a little higher paying.

I asked these questions to my step dad.

“Do you regret the job you didn’t chase?”

John-

“I don’t regret not being a accountant, that would’ve been boring as hell. But I do regret not sticking with the major and going into business.”

“If you could give any advice, what would it be?”

“Find something you love, make sure it’s every aspect as well. You don’t want to end up with a liberal arts degree.”

The next step in my opinion is the most important. Find someone you love, someone who supports step one. Just like step one, a lot of your time will be with someone you love. A lot of time that could be wasted. Back to our first study, the elderly people had this to say about finding someone to spend time with. “Take the time to get to know someone before committing.”. Take as much time as you need for both of these steps! Because once you find something you love, you can have that for the rest of your time. Yet don’t overthink either of these steps. They should occur naturally, you shouldn’t have to think about how you could regret something one day. These are merely suggestions to keep in the back of your mind while making important choices. Is this the job I want to be in? Is she or he the person I want to be with? It’s all very complex, made even more so by overthinking it. In my opinion these are the only two things that should matter. It can take years and years, but ending life with things you love is all that should matter in the grand scheme of your time.

This whole speech I’ve been saying different ways to avoid regret and why regret isn’t worth it. Yet at the very moment of writing this speech, I wonder if regret making it. What if the grade isn’t what I wanted (status). What if I don’t pass this class? (Accomplishment.) What if I look foolish speaking on this? (Appearance). I thought about scraping the whole speech, and doing some comedy bit on political parties. But what purpose what that serve? I would be directly going against what I said not to do. So I needed to accept that this was the idea I wanted to follow through with. And what happens afterwards, not to regret the time I spent making it. This whole speech I spoke on major life issues people regret. Regretting inaction, the person you’ve spent your life with. Regretting the time. Yet you shouldn’t regret any time you’ve used. As that would be a actual waste. Time is so valuable. Why waste it on what if’s? Of course I would’ve changed certain things that happened along time ago, but these thoughts only serve to waste time with I have with people currently in my life. Regret wastes time. Movies, tv, reading, are surely a waste of free time. But regret is just a waste of time. I don’t regret the time I spent on this speech, I don’t regret the time I’ve spent in my life.

I appreciate the time I have and did have.

And I hope I helped make you appreciate yours just a little bit more.

Thank you.

Seemingly ostracised by the ranks of Bristols behind, Devon General 47 basks in the sunshine at Weymouth in this undated and acquired shot. Not being familiar with the area I'm not entirely sure where this bus park was in relation to the bus garage but in other shots that I possess it appears to be quite near to the railway terminus there.(at-3727f)

The Pickerel Frog (Rana palustris[1][2]) is a small North American frog, characterized by the appearance of seemingly "hand-drawn" squares on their dorsal surface.

Contents

[hide]

* 1 Distinguishing features

* 2 Range

* 3 Other

* 4 Footnotes

* 5 References

* 6 External links

[edit] Distinguishing features

The distinctive rectangular spots of the pickerel frog may blend together to form a long rectangle along the back. All other leopard frogs have circular spots. In addition, they have prominent dorsolateral ridges that are unbroken. Another important distinguishing mark is the orange or yellow flash pattern found on the inner surface of the hind legs. The frog must be picked up to examine this, as the legs cover the coloration otherwise. The Plains Leopard Frog (Lithobates blairi) exhibits this coloration as well, but the dorsolateral ridges are inset medially in this species.

[edit] Range

The pickerel frog ranges in the west from much of Wisconsin, southeast Minnesota, eastern Iowa, through Missouri and down to eastern Texas. To the east they extend through northern Louisiana, most of Mississippi, northern Alabama, AlaskaSouth Carolina to the coast. Their northern range extends into Canada in the southern reaches of Ontario, Quebec, New Brunswick, and Nova Scotia. The range is spotty through the midwestern states and a field guide should be obtained for the specifics on ranges in a particular area.

[edit] Other

The skin secretions of a stressed pickerel frog are known to be toxic to other frogs, as many a novice frog catcher has found when he finds only the pickerel frogs still alive in his bucket. These secretions can also be moderately irritating if they come in contact with the eyes, mucous membranes, or broken skin. It is advisable to wash one's hands after handling pickerel frogs. FROM WIKIPEDIA

iss072e007238 (Oct. 1, 2024) --- The non-periodic Comet C/2024 G3 (ATLAS) is pictured seemingly above Earth's atmosphere though it was actually about 235 million miles away and heading for a trip around the Sun. The International Space Station was orbiting 272 miles above the southern Atlantic Ocean in between the Falkland Islands (Islas Malvinas) and South Georgia and the South Sandwich Islands at the time of this photograph. Credit: NASA/Don Pettit

Actually is was about 250 feet when we were finished.

Two seemingly hold out property owners from being bought out by FEMA sit at the end of what apparently is West Donald St in Waterloo, Iowa I have not included the map coordinates or photos of the houses.

I have always wondered about these properties and how they accessed them by vehicles. So the end of Donald Street is cut off by a large fill borrow lake. At one time long ago, Donald St went West, where now, a half mile wide lake stands

To access their property, they first must drive a mile or so thru George Wyth State Park. The access road these property owners must then use, is at the end of where Donald Street used to go, and now marked by a locked gate off the main park road.

This access road is a probably another mile long mud road thru a forest , that comes out under US218. It then follows the Cedar Lakes bike trail (right next to the trail) to their properties.

These two properties have to be the remotest properties I know of in Black Hawk County, Iowa.

Behold Nigeria’s first female fighter pilot

thenationonlineng.net/behold-nigerias-first-female-fighte...

Flying Officer Kafayat Sanni, a woman driven by excellence, has made history becoming the country’s first female fighter pilot, reports OKODILI NDIDI, Abuja

Flying Officer Kafayat Sanni can easily pass as any other young lady in her mid-twenties. Slender and soft-spoken, with a feminine look that tends to suggest an over-pampered girl-child, but behind this façade lies an uncommon and daring spirit.

Miss Sani described herself as driven by the quest to explore every available opportunity to prove that women could excel in a seemingly male-dominated profession like flying fighter jets.

Winged alongside another first helicopter pilot, Flying Officer Tolulope Arotile and 11 others, Sanni became the first female fighter pilot in the Nigerian Air Force since it was formed 55 years ago.

Speaking with reporters shortly after the historic event at the Air Marshal MD Umar Blue Room at the Defence Headquarters Abuja, Sanni, said she chose to be a fighter pilot because of the passion to test her strength among men.

According to the pilot, who was admitted into the Nigerian Defence Academy in 2012, “My inspiration comes from the passion of being very active and testing my strength among men and trying to see how far I can go with what men do. Along the line, I found out that joining the Armed Force was one of the things that was going to project me.”

She advised young women to pursue their passion without fear or intimidation from the menfolk.

In his speech at the winging ceremony, the NAF Chief of Training and Operations, Air Vice-Marshal Oladayo Amao, said the first-ever female fighter pilot in the Nigerian Air Force was trained at the United States Air Force under the prestigious Aviation Leadership Programme from January 31, 2018 to August 16, 2019.

According to him, “In line with one of the key drivers of the Chief of Air Staff, Air Marshal Sadique Abubakar, which is ‘human capacity development through robust and result oriented training for enhanced professional performance’, the Nigerian Air Force has continued to train personnel to meet her professional needs, particularly, the need for more pilots to man the ever-increasing platforms in the NAF inventory.

“These new pilots would no doubt boost the pilot manning needs of the Service as their deployment to the various NAF platforms would enhance the fulfilment of the constitutional roles of the Nigerian Air Force, especially in the ongoing operations in the North East and North West.”

He added: “The 13 newly winged pilots comprise 12 helicopter and one fixed wing Pilots. Similarly, the officers that attended Westline Aviation Limited, South Africa, commenced their flying training on August 20, 2018 and completed the course on September 10, 2019. Flying training for the Nigerian Air Force Student Pilots at Starlite International Training Academy in South Africa was conducted from August 9, 2018 to October 12, 2019.

“Notwithstanding this achievement, the Nigerian Air Force will continue to collaborate with allied countries to train personnel to meet her operational needs. As we speak, there are 12 student pilots undergoing training in the United States of America comprising; two at the United States Air Force for the Undergraduate Pilot Training and 10 student pilots at Civic Helicopters undergoing Basic Helicopter training, while two student pilots are currently undergoing basic flying training at the Indian Air Force.

“Also, four student pilots are being processed for Combat helicopter pilot training at the United States Army Aviation, Fort Rucker. Furthermore, 10 student pilots have been processed for Military-Style Rotary Wing Pilot Training at Cobham Aviation Services in the United Kingdom. Most of the trainings are tailored towards ensuring that the pilots, on graduation, are mission ready.”

He said 22, 841 personnel have been trained in different specialties at both home and abroad in the last four years.

“It is worthy of mention that the NAF under the leadership of Air Marshal Sadiq Baba Abubakar DFS has trained 22, 841 personnel comprising 2, 414 foreign trained and 20, 427 locally trained personnel in different specialties in the last four years. This is unprecedented in the history of NAF. All these go to reinforce the CAS’ drive to improve the professionalism of Nigerian Air Force personnel through deliberate and targeted specialist trainings,” he said.

Chief of the Air Staff Air Marshal Abubakar described Sanni and Arotile as outstanding aviators.

He said the NAF was winging the first female fighter pilot since its formation 55 years ago.

Air Marshal Abubakar said: “It is common knowledge that of all resources available to a leader or manager, the human resource is the most important. This is because the human resource drives all other resources pursuant to the attainment of organisational objectives. It is on this consideration that the NAF spares nothing at developing its human resource capital.

“This desire for excellence is even more compelling in the face of current and perceived future national security challenges. Accordingly, NAF has continued to invest in human capacity building, since the Service is a veritable instrument for maintenance of national security. The NAF will continue to discharge her constitutional responsibility of protecting Nigeria’s sovereignty and integrity by air.

“Our records indicate that as at today, we have trained a total of 67 Instructor pilots since 2015. Furthermore, with the winging of these pilots today, the NAF would have winged a total of 101 pilots within the same period. Currently, we have 61 pilots undergoing basic flying training, while 50 are undergoing various forms of advanced flying training courses both locally and abroad. As such, we are highly delighted to see the rewards of our collective efforts.

“I am confident that the NAF and indeed Nigeria will soon be reaping the benefits that these pilots would undoubtedly add to our operations,” he said.

Air Marshal Abubakar added that, “In a bid to consolidate on our gains on the fighter aircraft stream and our force projection outlook, all hands have been on deck to increase the number of serviceable L-39ZA aircraft for basic fighter training. Also, increased serviceability of the A-Jets has inspired continuous advance fighter training locally. More so, with the NAF preparing to receive two additional helicopter gunships, our counterinsurgency efforts will soon be greatly enhanced.

“Furthermore, it is envisaged that with the induction of the Super Tucano A29 aircraft into the NAF inventory, our fighter training efforts will also be greatly enhanced. All these are complemented by ongoing efforts at reactivating grounded aircraft locally with our technical partners, which has improved our maintenance capabilities and afforded our technicians the opportunity to benefit from on-the-job training. These achievements have saved the nation scarce resources.”

The special guest of honour at the occasion and Minister of Women Affairs Pauline Tallen, in her brief remarks, stated that “It is obvious that the Chief of the Air Staff is providing the right leadership and guidance to ensure the realisation of the primary key driver of his vision, which is hinged on human capacity development. We are indeed proud of the milestones reached by the NAF and the achievements of the Chief of the Air Staff.

“I am aware that with this winging ceremony, the Nigerian Air Force would have winged a total of over 110 pilots since the inception of his administration. This is indeed worthy of commendation and further demonstrates the preparedness of the Nigerian Air Force towards meeting our national security needs.

“I am convinced that the pilots being winged today will put in their best and contribute their quota towards consolidating the success attained in eliminating current security challenges in the Northeast and Northwest as well as communal clashes, kidnapping and armed banditry.”

Seemingly all alone, the lovely Erin Stuart portrays a woman struggling to come to terms with the loss of a loved one, in our recent themed photoshoot.

Thanks to Ray, at Dis-A-Ray Antiques in downtown Guelph for supporting local artists.

Please do not copy, add, or download this image to any other group, website or blog without my express written permission. All rights reserved. Rob Walton Photography 2012.

Shop fronts and facades are seemingly amongst the most ephemeral and transient of features and few 'originals' survive especially in today's modern craze for constant renewal guided by generally poor architectural taste and poor materials. Mind you, high 'art deco' was not, and is not, every ones taste - but you have to admire the chutzpah of this shop front in Victoria Street, London, c1930, seen in a design magazine article.

Allen-Liversidge was formed in 1908 and seems to have started by manufacturing motoring 'requisites' such as acetylene lamps for cars, etc. In time, from their works in Cricklewood, they moved into the wider field of gases and associated equipment for welding. They were taken over by the expanding British Oxygen Company in 1930. Joseph Emberton (1889 - 1956) was one of the first English architects working in the contemporary 'Modernist' style and is remembered for his work at the Olympia exhibition halls in London and Simpson's store on the Strand, also in London.

Jan Vermeer (1632-1675), active in Delft

The Art of Painting, to 1665/66

In the Art of Painting, one of the masterpieces of Western art, Vermeer uses a seemingly realistic studio scene to convey an allegorical meaning. In this case, the Delft master breaks with the existing tradition to present the Allegory of Painting in a single figure. The painter sits at his easel and begins the laurel wreath of his model, costumed as Clio, Muse of History, to capture on the canvas. Since its creation, iconography and technique of the painting have evoked countless interpretations. The historically handed down - probably stemming from Vermeer himself - title The Art of Painting makes clear that here a concept is represented. Until the mid-20th century, the image but preponderantly was received as ordinary studio scene. With the identification of the model as Clio the interpretation of the image as an allegory asserted itself increasingly. Whether the content aspect (the allegorical meaning) or the formal aspect (the startling illusion) of the image, that are rightly praised equally, is important, under art historicans is discussed to this day.

Jan Vermeer (1632-1675), tätig in Delft

Die Malkunst, um 1665/66

In der Malkunst, einem der Hauptwerke der abendländischen Kunst, bedient sich Vermeer einer scheinbar realistischen Atelierszene, um einen allegorischen Sinngehalt zu vermitteln. Dabei bricht der Delfter Meister mit der bestehenden Tradition, die Allegorie der Malerei in einer Einzelfigur darzustellen. Der Maler sitzt an der Staffelei und beginnt, den Lorbeerkranz seines als Klio, Muse der Geschichte, kostümierten Modells auf der Leinwand festzuhalten. Seit seiner Entstehung haben Ikonographie und Malweise des Gemäldes zahllose Interpretationen hervorgerufen. Der historisch überlieferte - wohl von Vermeer selbst stammende - Titel Die Malkunst verdeutlich, dass hier ein Konzept dargestellt wird. Bis zur Mitte des 20. Jahrhunderts wird das Bild jedoch mehrheitlich als gewöhnliche Atelierszene rezipiert. Mit der Identifikation des Modells als Klio setzte sich die Interpretation des Bildes als Allegorie zunehmend durch. Ob nun der inhaltliche (der allegorische Sinngehalt) oder der formale Aspekt (der verblüffende Illusionismus) des Bildes, die zu Recht gleichermaßen gerühmt werden, bedeutender ist, wird unter Kunsthistorikern bis heute diskutiert.

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.

Dome hall

Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.

1891, the Court museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of Ancient Coins

Collection of modern Coins and Medals

Weapons collection

Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments

Picture gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

Seemingly out of place, a number of 1950's era electric trolley buses from Vancouver and Calgary are stored in the old ghost town of Sandon. Apparently they were brought there in 2001 with the intent of renovation for placement in museums or other uses. Today they are parked along the main road through town alongside the remaining structures of the ghost town.

Seemingly making odd appearances on the 330 service are Stagecoach Manchester's more elderly low floor double deckers.

Some City churches seem to be open, if not all the time, then frequently. But others rarely seem to open their doors to visitors. Then there are those who seemingly don't want anyone to see inside their wonderful buildings. Which is more than a shame, really. These houses of God should be for everyone, not just the custodians.

Saying that, I must take another opportunity to thank The Friends of the City churches, and the time given by their volunteers who give up their time to ensure that these are open at least one day a week.

So, in the past two years, I think I have visited all of the churches that they are keyholders for, and so without this fine organisation, I would not have seen inside many of them.

St Benet's is open between 11:00 and 15:00 on Thursdays, and despite wondering whether it would be open as advertised, the greeters assured me it is open each and every Thursday.

St Benet's is unique in that I think I am right in saying that it is the only City Wren church that survived the Blitz undamaged. In which case, Wren would reconise this church, over all others he helped rebuild after the great fire in 1666.

It is now situated tucked in the corner of an off ramp of Queen Victoria Street, and the pedestrian has to walk through an unwelcoming subway to get to the door, which on this occasion was open.

I was greeted warmly, and given a tour of the history of the church, plus tips on visiting other churches. A wonderful visit and a fine church.

----------------------------------------------------

The Church of St Benet Paul's Wharf is a Welsh Anglican church in the City of London. Since 1556, it has also been the official church of the College of Arms in which many officers of arms have been buried. In 1666 it was destroyed in the Great Fire of London, after which it was rebuilt and merged with nearby St Peter's. The current church was designed by Sir Christopher Wren.[1] It is one of only four churches in the City of London to escape damage during World War II.

St. Benet's traces its history back to the year 1111, when a church was built on the site and dedicated to St Benedict. Over time the name was abbreviated to St. Benet. To the west of the site was the watergate of Baynard's Castle, which is referenced in the biographies of Queen Anne Boleyn and Lady Jane Grey. Both the church and the castle were destroyed in the Great Fire of 1666. It was rebuilt by the architect Christopher Wren, and reopened in 1683.

St Benet Paul's Wharf, London, taken from the top of nearby St Paul's Cathedral. Visible behind the church is the City of London School.

On 2 March 1706, Henrietta Hobart married Charles Howard, 9th Earl of Suffolk, a captain in the 6th (Inniskilling) Dragoons there. (Henrietta Howard subsequently became mistress to the future King George II.)[2]

The church was narrowly saved from destruction in the late 19th century, when its parish was merged with that of St Nicholas Cole Abbey. After an energetic campaign by its supporters, it was preserved and reconsecrated in 1879 as the London Church of the Church in Wales.[3] It is now the City's Welsh church, with services conducted in Welsh.[4]

In 2008 the church was closed for a few months due to a "dwindling congregation"[5] but reopened in time for the carol service in December that year. Welsh services are held weekly on Sundays at 11 a.m and 3.30 p.m and the church can be toured on Thursdays between 11 a.m and 3 p.m.

The church is of dark red brick, with alternate courses of Portland stone at the corners. The tower is situated to the north-west of the nave and is capped by a small lead dome, lantern and simple short spire.

The interior is almost a square. Unusually for a Wren church, the ceiling is flat rather than domed or curved. The north gallery was formerly used by the Doctors' Commons, and is now used by the College of Arms. Most of the original 17th century furnishings are still intact, including the magnificent altar table, reredos and pulpit, designed by Grinling Gibbons. The lectern and baptismal font are also original.[7]

The galleries are supported by Corinthian columns. There is a memorial to Inigo Jones, who was buried in the previous church, and a medallion bust of Sir Robert Wyseman, a benefactor of St Benet's who died in 1684.

en.wikipedia.org/wiki/St_Benet%27s,_Paul%27s_Wharf

A church has been on this site since 1111. Destroyed in the Great Fire, the present church was built by Wren and Hooke (possibly owing more to the latter) between 1677 and 1683. It was one of only four Wren churches to escape damage in the Second Word War but was vandalised in 1971: repaired and reopened in 1973. It has a long-standing connection with the College of Arms across the road. Also since 1879 the church has accommodated the Welsh Episcopalian congregation in London. It is therefore sometimes known as “the Welsh church”, though that is a misnomer. Paul’s Wharf was the wharf on the Thames from which stone and other building materials were conveyed for the Wren reconstruction of St Paul’s cathedral.

www.london-city-churches.org.uk/Churches/StBenetPaulsWhar...

There has been a church on this site, dedicated to St Benet (or Benedict), since the Twelfth Century.

Shakespeare refers to it in Twelfth Night: Feste, the Clown asking Duke Orsino to add a third to the two coins he is offering reminds him: “...the bells of St Bennet, sir, may put you in mind -– one, two, three.”

In the Sixteenth Century, because the watergate of Baynard’s Castle was close by, both Anne Boleyn and Lady Jane Grey may have received the last rites at St Benet on their way to execution at the Tower. The River Thames was, of course, an important thoroughfare at the time and the unlucky women could have completed their journey by boat.

St Benet is the only unaltered Wren church in the City. All but four were damaged in the Second World War and the other three either suffered the effects of an IRA bomb or have been restored.

The royal connection continued with Charles II having a special door at the side of the building and a private room from which he could take part in services. The Stuart arms can be seen above the west door marking the vantage point from which the king observed proceedings below.

Until 1867 St Benet was the parish church of Doctors Commons, a legal institution which, among its other activities, could provide facilities for hasty marriages. There is a record, for instance, of some 1300 weddings taking place in one year alone in the Eighteenth Century.

In 1747, Henry Fielding, the author of Tom Jones, Joseph Andrews and Shamela, married his second wife here.

In 1879 Queen Victoria removes St Benet from the list of churches to be demolished and grants the use of the church to the Welsh Anglicans for services.

The Officers of the College of Arms still have their own seats in St Benet’s and their personal banners hang from the gallery together with that of the Duke of Norfolk. At least 25 Officers are buried here.

In the 1870s the church was regarded as redundant and scheduled for demolition. Eminent Welsh Anglicans petitioned Queen Victoria to be allowed to use the building for services in Welsh. In 1879, Her Majesty granted the right to hold Welsh services here in perpetuity and this has continued ever since, with a service each Sunday morning.

In 1954, in the reorganisation of the City churches and parishes, St Benet became one of the City Guild churches as well as the Metropolitan Welsh Church.

The eminent composer Meirion Williams was the church organist in the 1960s and 1970s. As well as a Mass, Missa Cambrensis, he wrote a number of other works, including songs which are particular favourites of contemporary Welsh opera singers.

In 1971 a fire started by a vagrant damaged the north side of the church. During the repair work, necessitated mainly by smoke and heat damage, the Nineteenth Century organ was moved and rebuilt in its present (and original) position in the west gallery. When the church was reopened in May 1973, the congregation received a message from the Prince of Wales and trumpeters from the Royal Welsh Regiment blew a fanfare in celebration.

Today, the growing congregation at St Benet's remains committed to making known the good news of Jesus afresh to the current generation of the Welsh in London.

www.stbenetwelshchurch.org.uk/pages/historyENG.html

Seemingly oblivious to me a few feet away, a Ruddy Turnstone high steps it along Rollover Bay, Bolivar Peninsula.

Seemingly, a rare view from the Royal Palace.

Photo by Baron des Granges. Electronic adjustments made.

Source: University of Strasbourg.

docnum.u-strasbg.fr/cdm/singleitem/collection/coll4/id/21...

Public Domain

Another seemingly abandoned vessel in Bengkulu - "Tunas Dua" (ex-Tropicana II, ex-Tsukuba, ex-Gyokuzan) was built in 1980 by Namikata Shipbuilding, Imabari, Japan. A 2,281gt general cargo vessel registered in Jakarta, there is some sign of live on board with washing hanging from a line!

All photographs are my copyright and must not be used without permission. Unauthorised use will result in my invoicing you £1,500 per photograph and, if necessary, taking legal action for recovery.

Snowy owl taking off, scared off by a very disrespectful photographer. The photographer seemingly didn't have enough reach with his 100-400mm lens and wasn't content with his images, proceeds to walk on to private property and slowly got closer and closer until he scared the bird away. It flew a few buildings over, and to my disbelieve he did it again. I was so angry I told him off. I told him stay on the side of the road and not trespass as well as not agitating the birds.

Later on I met a lady who told me that the farmers were so sick and tired of people trespassing on their land that they would start shooting the birds.

Three penguins is close proximity to one another, seemingly communicating.

Copyright 2019 Moelyn Photos. Please do not use or duplicate without express permission. All rights reserved.

Again, seemingly out of nowhere, Ezra came back rocketing back (of course he heard her) and was at the nest by 5:27pm. Based upon where he was and the time stamp, we calculate he was flying at about 30mph; not top-speed for a Red-tailed Hawk--but pretty darn cool to watch...

Have you ever looked at someone and thought that if they were a zombie that they'd be the one that would end up getting you? Seemingly innocent, cheery and bright natured, but get too close and BOOM, She rips your intestines out through you belly button while bitting off half your arm! She'd also be one of the half smart zombies that would act like a damsel in distress and you'd be helpless to resist. She'd end up working with a team of zombies to ambush people!

Jacque was over tonight and while Shawn was putting Rylan to sleep her and I snuck outside for a quick and simple shot. This was what I had in mind from the first second the evil theme popped into my head.

This was so simple that It really doesn't even warrant a long drawn explanation. The beauty Dish was the main source of light. With it just 18 inches from her head and nearly directly overhead the light was harsh, leaving heavy shadows on her face. Instead of getting another light out I simply opted for a small piece of silver foam core board. This placed on the ground pointing up added just enough fill to her face but still maintained the sharp light fall off. This gave the illusion that she simply disappeared from the chest down.

I realized after, that this was very similar to Loko Trippers photo a few days ago. I love the simplicity of the beauty dish!

Post production was quick as all I did was brighten and change the color of her eyes. Which without any other Zombification really did a lot to make her look evil! I then textured up her skin, dodged and burned and darkened her eyes. The photo was simple enough that it really didn't need a Photoshop marathon.

The square crop seemed a natural fit for this image. I shot it vertical as to maximize the usable resolution and give me the option to print even larger in the future. This particular shot would print up 6 foot squared.

I felt it necessary to inform everyone that after 3 long weeks without a Guinness I finally had one! At lunch today I ordered a single 20 once Guinness and what did they bring me? A giant barrel of 2 for 1 dark and delicious beer! A whopping 40 ounces on an empty stomach. It even took me the whole meal to complete. Shawn was driving so I wasn't worried! Mmmm good!

That would be all for today… I may eventually pop in the 6th season of Weeds in which I haven't seen yet. So, don't spoil it for me!

Lighting:

AB800 Beauty Dish 6:00. 18 inches from subject. 1/8 power. Triggered Via Cyber Sync.

small 1x3 silver reflector under neath light pointed at subject

After seemingly months of gloomy weather I was soooo glad to step into some Alliston sunshine this morning. However, I did have to work for by driving south through the permastreaming blizzard along the southeast corner of Georgian Bay.

The train was cleared from MacTier to Bolton on a pre-dawn run, and with the cloud map showing some clearing in the Alliston area I made my way down in advance in hopes that the sun would come up before the train arrived. Not being in the vicinity of MacTier or Vaughan I never did definitively get the number, however there were no 100/112/118 CP, CT or refrigeration etc. so I'm declaring them extra 114 trains.

Good news! Yesterday I caught the 112 with a very clean CP7431 leading the way and there is no doubt in my mind that it had a proper scrubbing - so we will look forward to more of that!

A video is available for this train on the: YouTube Channel

CP MacTier ML43.27 - CP 8054 (AC4400CWM), CP 7489 (ET44AC), KCS 4853 (ES44AC), CP 8853 (ES44AC), KCS 4769 (ES44AC)

Seemingly (rather unfortunately) taking the place of former Go North East Dennis SPD/Plaxton Super Pointer 8236 (NK51 MKJ) is Trustybus' former Metroline Dennis Trident/Plaxton President TP425 (LK03 CGF), which is pictured here whilst attending the annual internal SHOWBUS event held at the Imperial War Museum, Duxford. 21/09/14

These seemingly endess fields of white mule ears were quite a sight. The plants are no taller than about one foot, but the flowers are large -- four to five inches across.

Along the way to Mesa Falls, we saw large fields of wildflowers. Upon arriving at the Falls, we were greeted by several Marmots, lazing on the cliff boulders. They were a bit wary, but we managed to get a few good photographs before they disappeared behind the rocks.

Ride to HELL

A short film, shot in a local train in Mumbai, uncovers the opportunist in seemingly decent human beings

Mini Pant Zachariah

Mumbai

T HE FILM ends with the line, 'Treating sex casually helps the virus' and yet The Opportunist is not a film about AIDS aware ness. In fact, this short 12-minute-long film directed by Dipk G N Nanglia, is about the base opportunist in seemingly decent human beings — the opportunist who, given an opportunity, is likely to take advantage of the less advantaged.

The theme is universal. This is probably why it was the only Indian short film selected from 1,573 entries for the Con Can Film Festival in Tokyo in March this year and, says its producer G K Desai, the first Indian short film to be released in Japan.

Nanglia uses a deserted late-night suburban train to Panvel to bring out the opportunist in the protagonist (who remains unnamed through the film). The character, played by Mohan Joshi, encounters a sobbing woman in the train and, on the pretext of consoling her, rapes her. When the train stops and a commuter enters, Joshi pre tends to comfort the woman who tells him at this point that she is crying because she and her unborn child both have AIDS.

In fact, the film begins on a note of dark humour when, waiting on the platform for the train, Joshi is about to light a cigarette. A police constable catches him, confiscates his cigarette on the ground that smoking on the platform is against the law… and then pockets the cigarette himself.

Nanglia first thought of shooting the film against the backdrop of a suburban railway platform or some deserted corner of Juhu beach but then opted for the moving train because "people will immediately connect with the local train".

The shoot was done at night when the trains are empty By the time they crew neared the end . of the shooting, it was daybreak and many commuters rushed in to the compartment. "In fact there were some 100 commuters in the compartment when we were shooting but we managed to keep them out of the frame," says Nanglia.

The story has had real-life parallels with molestation of women in deserted suburban trains in Mumbai hitting the headlines in the past. Mumbai's trains, understandably, evoke gritty stories, like the recent Ek Chalis Ki Last Local (2007), which weaves a tale around a call-centre employee who misses the last train home. The Opportunist, on the other hand, exposes the dark side of those who, emboldened by the anonymity that the city offers, let their dark side emerge.

Says Desai, "It is interesting how people from different parts of the world relate to the film. The Indians see it as the protagonist's karma - he is paying for the sin of raping a helpless woman. The Americans relate to Joshi's behaviour as a typical one-night stand. The Japanese can understand the kinkiness of the situation." Nanglia is an assistant director with Madhur Bhandarkar.

Desai, an electrical engineer and MBA, has done bit roles in Bhandarkar's Page 3, Traffic Signal and in the forthcoming film Fashion. Water Trade, the film Desai is making for US diplomat Wilson Roark, is being shot in Chicago and Tokyo and will be ready shortly .

mini.zachariah@hindustantimes.com A CONSTABLE CATCHES HIM AND CONFISCATES HIS CIGARETTE ON THE GROUND THAT SMOKING ON THE PLATFORM IS AGAINST THE LAW THE CHARACTER, PLAYED BY MOHAN JOSHI, ENCOUNTERS A SOBBING WOMAN AND, ON THE PRETEXT OF CONSOLING HER, RAPES HER

Seemingly depicting deep outer space, this wall tile is by German maker Helmut Schäffenacker. The impressed marks on the back read schäffenacker ulm/de. made in germany handgeformt 504.

Too cold for a stroll....