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Stephen Fry's Paddington by Matthew Wells

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Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below

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Collarfull by Matthew Wells

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Wien, 14. Bezirk, Otto-Wagner-Kirche, am Steinhof (Zum Heiligen Leopold), la chiesa al San Leopoldo III di Babenberg, la iglesia al Leopoldo III di Babenberg (santo), l'église au Léopold III d'Autriche, Church to Leopold III, Margrave of Austria by Josef Lex (El buen soldado Švejk)

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The Steinhof Church ( also: Church of St. Leopold) was built in 1904-1907, designed by Otto Wagner, and is considered one of the most important buildings of the Vienna Art Nouveau. The Roman Catholic church building is located on the grounds of "Social Medical Center Baumgartnerhöhe" in the 14th district of Vienna Penzing.

History

The Church of "St. Leopold", better known as Steinhof church (or Otto Wagner church Steinhof ) arose from the construction of the Lower Austrian State Hospital and Nursing Home for nervous and mental patients at the stone courtyard (Steinhof) 1904 until 1907. The staff responsible for the planning architect Otto Wagner had to take into account that there is a church institution for mentally ill patients, and elicited in discussions with doctors and nurses, the specific requirements of such a structure. A doctor's room, toilets and emergency exits were planned, the pews have due to injury no sharp corners. Wagner, in which projects the hygienic aspects have always been a big concern, designed instead of an ordinary holy water basin, a variant with dripping holy water to reduce the risk of infections. He designed the ground sloping down to the altar, so that patients could see better in the back rows to the front. There were also separate inputs not only for nurses but also for male and female patients, since at that time in mental hospitals segregation was prescribed. Lack of money, however, both the Cross as well as the Unterkirchen (Lower Churches) for Protestants and Jews were not realized. Also a heater was not installed.

8 October 1907 the church was opened by Archduke Franz Ferdinand. Between the Archduke, who was not very fond of the Art Nouveau style, and Otto Wagner, however, there was already the beginning of creative disagreements, why Wagner was not mentioned in the opening statement, and subsequently by the Imperial Household got no more orders. These resulting from very different views on architecture and aesthetics gap misled the Neue Freie Presse in its issue of opening day to the question: "And it's not a pretty ironic histroy that pretty much the first sensible large-scale secession building in Vienna has been built for the insanes?".

After about six years of extensive renovation, the church was established and on in October 1st 2006 reopened. Among other things, the dome was re-gilded using 2 kg of gold, replaced the drum base with artificially patinated copper sheets and the marble facade completely replaced. Windows, mosaics and figures have been carefully cleaned and restored. Now radiant with the new look and highly visible in the western part of Vienna golden dome, reminiscent of half a lemon, incidentally, owes Baumgartnerhöhe on which the church stands, it's nickname" Lemoniberg" . The church, in 2007, three new bells were made by the Grassmayr bell foundry. The church is only open for worship, as well as on Saturdays and Sundays to prevent entry. On these days, guided tours.

Architecture

St. Leopold

Severin

The church Steinhof is next to the Secession building one of the masterpieces of Art Nouveau in Vienna and has parallels with the design, designed by Otto Wagner student of Max Hegele and 1910 finished Charles Borromeo Church in Vienna's central cemetery. One of the distinctive features of the church is based on a Byzantine motif golden dome, lined the inside of a structure is supported. On the bell towers on the west front of St. Leopold enthroned as the patron of Lower Austria and Vienna and to the east of the preacher Severin. The figures were created by Richard Luksch. As well as the orientation of the church to the south rather than east introduced the representation of saints sitting rather than standing one represents a breakthrough

Under the cornice is a decorative strip with crosses and Loorbeerkränzen (laurel wreaths) that are often incorporated in Otto Wagner buildings, such as, for example, in the Postal Savings Bank or the cast iron railings of the rail. About the time used only to larger celebrations are four main entrance created by Othmar Schimkowitz angel figurines with heads bowed to the church square. In a storm the second angel was torn away from the right head and been re-soldered from the janitor, but with their heads held high. This situation was corrected for the renovation.

Stained glass window

The physical virtues

The arrangement of the stained glass windows were designed by Otto Wagner, so that the church interior is flooded with natural light as possible. The glass mosaic window in Tiffany Style created by Koloman Moser. The west window with the motto "Verily I say unto you. Inasmuch as ye have done it unto one of these my brethren ye have done it unto me " shows the physical virtues. The angels on the Saints hold the humble grave cloth of Jesus. Reduces the altar when viewed from bottom to top the head.

St. Elizabeth with Roses: Feed the hungry

Rebecca St. in offering the potion: The Thirsty soak

St. Bernard: The strangers house

St. Martin with the sword to divide the mantle: The naked clothe

Visit the sick: John of God, the founder of the Order of the Brothers of Charity

John of Matha, founder of the Order of the Trinity: The released prisoners

Tobias with a shovel: the dead bury

The intellectual virtues

The east window with the motto " Blessed are the merciful for they shall obtain mercy " shows the intellectual virtues. The angel looking up at a dove. The altar lift up the head.

John the Baptist: rebuke the sinner

Francis de Sales: instruct the ignorant

Clement Mary Hofbauer advise the doubters right

St. Therese: The Afflicted comfort

The suffering injustice with patience: Joseph of Egypt

Stephan: To those who have offended us a pardon

Abraham ask for living and the dead with God

The four windows in the dome, the four evangelists.

Altarpiece

The altarpiece the promise of heaven should be originally designed by Koloman Moser. Even with the side windows there had been criticism and objections from Henry Swoboda prelate, who had been entrusted with the supervision of the Church. However, as Moser married Ditha Susi Mautner married and he converted to Protestantism, he was removed from the job despite intercessions of Otto Wagner. The already operating in parallel at this time of the order Carl Ederer submitted a design that was similar to that of Moser and originated in this form at the urging Swoboda. Moser Ederer consequently accused of plagiierens (plagiating), whereupon he had left at the urging of the other members of the Secession, from the Moser in 1905, filed suit. The trial ended with a settlement and the apology Moser Expressing liveliest regret" about the " ignorance of the circumstances". At the opening of the church in 1907, only the design of Ederer thus could be issued on cardboard. In agreement with Moser and Wagner 1910 was a renewed design of Remigius Geyling, but because of "lack of suitability" in 1911 he took off the job. The execution of 84.8 m2 and four-ton mosaic was ultimately performed by Leopold Forstner.

The altarpiece is in the middle of the blessing Christ and two angels .

Stand at his right

The Virgin Mary

St. Dymphna, patron saint of the mentally ill

St. Aloysius, who took care of plague victims and the dignified burial

St. Margaret, patron saint of women in labor and in all wounds, one of the Fourteen Holy Helpers

St. Vitus, helpers in mental illness and the patron saint of epilepsy, one of the Fourteen Holy Helpers

Severin of Noricum, the patron saint of Bavaria, the prisoners, growers and weavers as well as for fertility of the vines

Standing to his left

St. Joseph

St. Elizabeth of Thuringia, a symbol of active charity

Hermann the German, the first prior of a Dominican convent in the German speaking Friesach

St. Christopher, helpers against unsuspecting death, patron saint of travelers, one of the Fourteen Holy Helpers

St. Francis of Assisi, patron saint of the poor and social work. Helper for headaches and the plague

St. Pantaleon, Patron of doctors and midwives, one of the Fourteen Holy Helpers

On the steps of the Church kneels St. Leopold kneels and he is handing over the Steinhofkirche. The figures at the side of the altarpiece are representing Paul with sword and Peter with keys. The altar was made according to designs by Otto Wagner. The mosaics of the side altars have been made by Rudolf Jettmar. The right shows the Annunciation left the Archangel Gabriel. The confessionals were manufactured by the Wiener Werkstätte.

Otto Wagner, Kirche Am Steinhof, 1904-07, Church Am Steinhof - Projekt Museum Am Steinhof, Otto-Wagner-Spital (Hospital)

de.wikipedia.org/wiki/Kirche_am_Steinhof

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■ภาวะตกขาว ซึ่งบางทีเรียกว่า มุตกิด หรือระดูขาวนั้น เป็นภาวะหนึ่งที่สตรีส่วนมากต้องประสบและทำให้สตรีจำนวนไม่น้อยมาพบแพทย์ และสูตินรีแพทย์ ภาวะดังกล่าวอาจเป็นอาการที่แสดงออกมาจากตอบสนองต่อฮอร์โมนในสตรีที่ปกติ หรือจากการที่เป็นโรคที่ไม่รุนแรงเรื่อยไปจนกระทั่งถึงโรคที่รุนแรงก็ได้ ดังนั้นภาวะนี้จึงมีความสำคัญมิใช่น้อย

ตกขาว

ตก ขาว เป็นของเหลวใด ๆ ที่ไหลออกมานอกช่องคลอด แต่ไม่ใช่เลือด ของเหลวดังกล่าวส่วนใหญ่ถูกสร้างขึ้นจากช่องคลอด ปากมดลูก และอวัยวะข้างเคียงบริเวณปากช่องคลอด ลักษณะของตกขาว จะมีความแตกต่างกันไปขึ้นการเปลี่ยนแปลงของร่างกาย ทั้งในขณะที่อยู่ในภาวะปกติ หรือกำลังเป็นโรคอยู่

ตาม ปกติแล้วในสตรีที่อยู่ในวัยเจริญพันธุ์ (อีกนัยหนึ่ง คือ สตรีที่อยู่ในช่วงอายุที่ยังมีประจำเดือน หรือมีฮอร์โมนเพศหญิงเจริญเต็มที่) จะมีการเปลี่ยนแปลงของฮอร์โมนแตกต่างกันไปตามระยะของประจำเดือน การเปลี่ยนแปลงนี้ จะมีผลต่อการลักษณะของเหลวที่สร้างขึ้นมาจากอวัยวะต่าง ๆ ในระบบสืบพันธุ์สตรี ดังเช่น ในช่วงกึ่งกลางรอบประจำเดือนหรือระยะใกล้เคียงกับการตกไข่ ซึ่งเป็นเวลาที่มีฮอร์โมนเอสโตรเจนสูง ทำให้ในช่วงเวลานี้ จะมีตกขาวลักษณะค่อนข้างเหลวใส ๆ ปริมาณมากกว่าระยะเวลาอื่น ส่วนตกขาวในระยะเวลาอื่นจะมีสีขาวขุ่นคล้ายแป้งเปียก นอกจากนั้นแล้ว ตกขาวที่ปกติควรจะไม่คัน และไม่มีกลิ่น ถ้าตกขาวของท่านมีลักษณะดังที่กล่าวมานี้ถือว่าปกติ

อย่างไรก็ตาม สตรีแต่ละท่านจะมีปริมาณตกขาวแตกต่างกันไป บางท่านอาจมีปริมาณตกขาวมากจนเปื้อนชุดชั้นในอยู่หลายวันในแต่ละเดือน แต่สำหรับบางท่านอาจมีปริมาณน้อยจนไม่รู้ว่ามีตกขาวเลย

นอกจากนี้ ฮอร์โมนในสตรีในวัยดังกล่าว ทำให้เซลล์ในช่องคลอดสมบูรณ์ และมีการสร้างสารประเภทแป้งที่เรียกว่าไกลโคเจน ซึ่งจะถูกเปลี่ยนแปลงโดยแบคทีเรียชนิดหนึ่งให้เป็นกรดอ่อน ๆ ภาวะนี้จะช่วยป้องกันการรุกรานจากเชื้อโรคชนิดอื่นที่ก่อให้เกิดความผิดปกติ ได้

ตก ขาวผิดปกติจะมีลักษณะที่ต่างออกไปจากที่กล่าวมาข้างต้น จะมีสาเหตุใหญ่อยู่ 2 ประเภท คือ สาเหตุจากการติดเชื้อ และสาเหตุจากการไม่ติดเชื้อ

ตกขาวที่มีสาเหตุจากการติดเชื้อ

ตก ขาวจากสาเหตุนี้ เกิดได้จากเชื้อไวรัส แบคทีเรีย รา และพยาธิในช่องคลอด ตกขาวประเภทนี้ บางชนิดจะมีลักษณะที่ค่อนข้างเฉพาะตัว ดังจะกล่าวต่อไป

ตกขาวที่มีสาเหตุจากเชื้อไวรัส

เชื้อ ไวรัสบางชนิดเป็นเชื้อโรคที่ติดต่อมาโดยการมีเพศสัมพันธ์กับผู้ที่มีเชื้อ บางครั้งอาจไม่มีอาการชัดเจน ตัวอย่างของโรคในกลุ่มนี้ได้แก่ โรคเริมซึ่งเป็นโรคที่ไม่หายขาด จะมีอาการเป็นตุ่มใส ๆ ขนาดเล็ก ต่อมาจะแตกเป็นแผลแสบ มีตกขาวสีเหลืองมีกลิ่นผิดปกติโดยเฉพาะอย่างยิ่งในครั้งแรกที่ปรากฏอาการ

ตกขาวที่มีสาเหตุจากเชื้อแบคทีเรีย

ตก ขาวประเภทนี้มักมีสีเหลือง หรือค่อนข้างเขียว อาจมีอาการคันในบางราย เชื้อบางชนิดอาจเกิดตกขาวมีกลิ่นคาวปลาหลังการร่วมเพศ แต่ในกรณีที่มีการติดเชื้อจากโรคหนองในจะมีตกขาวสีเหลืองจัด อาจร่วมกับมีอาการปัสสาวะแสบขัดได้

ตกขาวมีสาเหตุจากเชื้อรา

เชื้อ ราในช่องคลอดมักทำให้เกิดอาการตกขาวสีขาว มีลักษณะเป็นก้อนเล็ก ๆ คล้ายนมที่ทารกแหวะออกมา และมีอาการคันช่องคลอด การตกขาวชนิดนี้มักไม่ได้เกิดจากการติดต่อทางเพศสัมพันธ์ สาเหตุที่พบบ่อยเกิดจากการใช้ยาปฏิชีวนะ น้ำยาสวนล้างช่องคลอดที่มีส่วนผสมของยาปฏิชีวนะ หรือในกรณีที่ผู้ป่วยมีภูมิต้านทานต่ำ เช่น ผู้ป่วยที่เป็นโรคเบาหวาน ผู้ป่วยกำลังใช้ยาที่มีฤทธิ์กดภูมิต้านทาน

ตกขาวจากเชื้อพยาธิในช่องคลอด

พยาธิ ชนิดนี้เป็นโรคติดต่อเชื้อทางเพศสัมพันธ์ชนิดหนึ่ง มักมีสีเหลือง อาจเห็นเป็นฟอง มีอาการคันช่องคลอด และอาจมีกลิ่นออกเปรี้ยวเล็กน้อย

ตกขาวที่มีสาเหตุจากการไม่ติดเชื้อ

ตก ขาวผิดปกติประเภทนี้ มีสาเหตุได้จาก การระคายเคืองหรือแพ้สารเคมี จากมะเร็งในอวัยวะสืบพันธุ์สตรี (เช่น มะเร็งของปากมดลูก ช่องคลอด ท่อนำไข่) รวมทั้งเกิจากการมีสิ่งแปลกปลอมในช่องคลอด

ในกรณีที่เกิดปัญหาตกขาว

ท่าน ที่ประสบปัญหาตกขาวที่มีลักษณดังที่ได้กล่าวมาแล้วข้างต้นนั้น แนะนำให้ทานยาสตรีเป็นสมุนไพร ของหมอจ๋าย

แต่ถ้าหากว่าท่าน มีอาการตกขาวที่มีลักษณะผิดปกติ กล่าวคือ มีสี กลิ่นผิดไปจากปกติหรืออาจมีอาการคันร่วมด้วย ก็ควรจะได้รับการตรวจและรักษาให้ถูกต้องตามสาเหตุ ทั้งนี้เนื่องมาจากการรักษาที่ตรงตามสาเหตุจะทำให้โรคหายเร็วขึ้น เช่น ในกรณีที่ตกขาวจากเชื้อรา หรือถ้าเป็นจากเชื้อพยาธิในช่องคลอด ก็อาจจะต้องใช้ยารับประทาน ประการที่สองสาเหตุของตกขาวที่ปิดปกติบางครั้งอาจเกิดจากมะเร็งอวัยวะสืบ พันธุ์สตรีได้ โรคดังกล่าวนี้ควรได้รับการรักษาอย่างเร่งด่วน ส่วนประการสุดท้ายคือ ถ้าอาการตกขาวของท่านมีสาเหตุจากโรคติดต่อทางเพศสัมพันธ์

มีอีกหลายอย่างหลายประการ ที่เกึ่ยวกับโรคอวัยวะภายใน ของสตรี

-ปวดประจำเดือน

-คันในช่องคลอด

-ช่องคลอดมีกลิ่น

-ขาดน้ำหล่อลื่น

-ช่องคลอดไม่กระชับ

หน้าอกเหลว เล็ก หย่อนยาน

-มดลูกหย่อนยาน โบราณ เรียดกระบังลม

ช็อกโกแลตซีส

-สิง ฝ้า หน้าข้าวตังดังตกกระ

เราได้จัดสมุนไพรทั้งหลายทั้งปวง ผสมให้ถูกส่วน ล้วนให้ตรงกับโรค ตามประโยคดังกล่าว ไม่ต้องทานหลายอย่าง เพียงขนานเดียว เพราะใช้สมุนไพรหลายอย่างให้ตรงกับโรคของสตรี ใช้มาหลายร้อยปีไม่มีอันตรายเพราะเป็นเสมือนอาหารสมุนไพร เช่น ว่านมหาเมฆ ว่านชักมดลูก ไพร ฝาง เจตมูลเพลิง แดง ดอกคำฝอย ขี้เหล็ก แสมสารและสมุนไพรอื่นอีกมากมาย ให้ครบกับโรคสตรีที่มีเป็นกันมาก เป็นรากฐานของมะเร็งในภายภาคหน้า รีบรักษาก่อนที่จะเกิดมะเร็ง

■ราขวดละ 400 บาท มี 20 แคปซูล

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สนใจในบริการของเรา สามารถติดต่อสอบถาม 028107832 0868030656 อีเมล์ nopsuvan2495@hotmail.com

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DSC_4466 by Quantum Stalker

1

While the world may never know the noble sacrifices made to defeat Thanos, I honor the memories of the fallen with the addition of the Hot Toys Avengers: Endgame Black Widow figure into my one sixth figure collection, which if I'm being honest, is somewhere in the vicinity of 25% nothing but Black Widow.

It's actually been out in the real world since July 2020, so you can imagine by the time I received mine last week, I've had to time formulate some thoughts on the figure even before I received it.

This figure comes in a standard windowed cardboard box with a cardboard slip cover with glorious art work depicting the only worthy Avenger in the group.

You get the figure with open palm hands, six additional hands (pistol specific, baton specific, closed fists), two baton handles for storage in the backpack, two full size batons, a combined staff form for the batons, a pair of Glock 26s, and a stand. The actual contents of said box are a bit on the scant side, though quite honestly I'm not sure really sure what else you could have added.. maybe a few gesture specific hands?

Also, for the anal retentive readers, neither the batons or the Glocks have any paint on them. In fact, I was kind of confused at first that the Glocks were pure black... well turns out they were always pure black (at least going back to CW) so it's possible the silver painted ones we kept getting were overstock from years past. Detailing on the Glocks and the batons are pretty much what you'd expect - pretty much scaled down replicas of the real ones.

The Glocks have moving Slides, but no longer have removable magazines, undoubtedly due to cost savings as nobody ever really used that function for Widow.

If you've followed news of this figure, you've undoubtedly heard claims that Hot Toys FINALLY nailed Scarlett Johansson in this latest release.

Nope. No. Absolutely not. Nein. Hell no.

I feel much of this hype has to do with the most obvious change between the previous releases and this one - the use of sculpted hair. I get that many a collector avoided the other Widow figures due to their desire not to get involved in hair styling, and I get that.. The ironic thing is that if Hot Toys were to choose one sculpt to use rooted hair on, it would have been THIS one, as the hair is basically controlled in a pony tail.. missed opportunity, IMHO.

Speaking of hair, the tip of the flexible pony tail definitely could use more that Bronze. Sculpting on it is nice enough, including an ornamental braid that goes from the top of her head along the right side. Unlike Dr. Strange 2.0, the hair doesn't seem to add too much volume to her head.

Then there's the face itself, which I've shown in comparison to the IW and CW version (which, really are the same thing). Endgame Widow certainly has a healthier complexion compared to the IW version, seemingly a mixture between the CW and IW colours.

Even in sunlight you can the differences in colour, though in comparison to the real deal it's a bit too flushed. I feel the IW version wasn't actually that far off.

The actual shape of the face has improved, having more pronounced cheeks and a sharper chin. Having said that, the overall size of the face is generally just too wide compared to the real deal. They also gave her one hell of a jawline to make her more feminine, including a much smaller neck area. This all gives her a great profile, but causes her head to look too big from the front.

Then there's the eyes... the eyes aren't even close to the real thing. It's something that I've come to accept on Hot Toys sculpts, so it's not to say they're badly done. They just don't look like Scar Jo and for me, throw the whole face off.

Hot Toys also gave Nat a kind of constipated looking expression, but you know what? I'll take that over the dead eye stares of AoU and Winter Soldier.. at least there's some sort of soul in the figure. As expected, the face is expertly painted, a hallmark of Hot Toys products.

So in summary, there are certain aspects of the Sculpt where things have improved, and the right light can now bring out those improved features, but to call it as the definitive Scarlett Johansson Black Widow sculpt is too much of a stretch for me. It's just like the previous one - features make it easy to recognize as Scar Jo as Black Widow, but none are perfect.

The Body is an interesting discussion, though not as contested as the I don't know model names and all that, but to me the actual body itself hasn't changed, down to the rubber piece for her Clavicle and Bust Line... probably going back to Avengers. The padding is slightly different this time, though, probably to accommodate the newly designed suit. I'm guessing that unless it was done with my needs in mind, its likely that it was due to some manufacturing limitations and/or labour issues.

The outfit that Hot Toys gave the Widow figure is what I would call the Black Widow stunt outfit.

Based on appearances, it really should be made of whatever Captain America's costume is made from. While it would look cool, such a suit would likely cost more than what she actually got, while at the same time being effectively crap when it comes to articulation as it would be form fitting.

Instead, Hot Toys gave her a rubber body sock with harder plastic shoulder and knee guards glued on. To my untrained eyes and hands seems to be the stuff they made the BvS Batman suit from. Using this material, a suit that LOOKS like the one on screen is used, but has range of motion in mind. All the patterns and textures, for example, are present, but the Widows Bite are no longer removable from the body.

The end result is the form fitting nature of the suit is maintained, but the suit has ample give in the abdomen and hip area, along with stretch of the material itself, for improved range of motion over its predecessors. Again, maybe the padding was done with this in mind.. maybe it was a happy accident.

The articulation of the shoulders and arms are about the same as before, not quite enabling her to hold her arms out past 90 degrees from the resting position. Sadly, they never fixed the lack of ankle articulation.

All-in-all, I've found the Endgame body to be more poseable as compared to the CW and IW versions, and is probably on par with the AoU version without having that baggy look for her suit (or the flaking/tearing issues).

The materials used for the holster/belt, backpack, and boots appear to be unchanged from the IW release Hands are effectively reuses of the ones for the IW release, with the exception of the Quantum Tracker on the back of her left hand.

Paint work is the usual Hot Toys level of quality, which is kind of important when you're dropping $250 USD for a single figure.

In conclusion, an interesting figure. You're getting your usual Hot Toys level of paint and build quality. I like the new suit, even if seems like a cost cutting measure, because I'm giving Hot Toys the benefit of the doubt that they chose function over form, and I've been able to do a few things that none of the previous suits could do.. or at least do without fear of tearing.

Besides, the new Glocks let me check off that "cost cutting" box anyway.

Is it THE DEFINITIVE Black Widow though? I'd have to say no, unless your definition includes not having rooted hair. The lack of ankles is still a sore point, and more importantly, none of the Widows have screamed "HOLY CRAP THEY SHRUNK HER HEAD AND STUCK IT ON THIS FIGURE" though, again, they're getting closer (especially that profile view).

So, if getting a Hot Toys Widow into an action pose is your deal, then the Endgame version will probably do you right. But if you want a classy looking Widow, the CW version is still where its at.

Ophiomorpha burrows in aragonitic limestone (Cockburn Town Member, Grotto Beach Formation, Upper Pleistocene, 114-127 ka; Ophiomorpha Bay, Cockburn Town Fossil Reef, San Salvador Island, Bahamas) 6 by James St. John

Ophiomorpha burrows in subtidal fossiliferous aragonitic limestones (Cockburn Town Member, Grotto Beach Formation, lower Upper Pleistocene, 114-127 k.y.) at Ophiomorpha Bay, Cockburn Town Fossil Reef, western margin of San Salvador Island, eastern Bahamas.

Trace fossils are indirect evidence of ancient life. They are structures representing the behavior of ancient organisms. Terrestrial traces are moderately common in the Quaternary limestones of San Salvador Island (& elsewhere in the Bahamas). The marine facies also have trace fossils.

Ophiomorpha is a moderately large, curvilinear, subcylindrical burrow having a externally pelleted lining that is constructed below the seafloor by callianassid shrimp (life.bio.sunysb.edu/marinebio/soft_05.jpg). Differential weathering and erosion often results in empty Ophiomorpha tubes (intraburrow porosity) and significant interburrow porosity. For more info. on this, see below (= my personal notes from a talk presented by Al Curran).

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"Macroporosity and Permeability Related to Callianassid Bioturbation and Ophiomorpha Ichnofabric in Pleistocene Shallow-Marine Carbonates: Examples from the Bahamas and South Florida"

Al Curran (Department of Geosciences, Smith College, Northampton, Massachusetts, USA)

Presented 18 June 2010 at the 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, Gerace Research Centre, San Salvador Island, Bahamas

Looking at callianassid bioturbation & Ophiomorpha ichnofabric & environments conducive to callianassid habitation.

Ophiomorpha consists of branching, lined burrows - the tubes are smooth on the interior and distinctly pelletted on the outside. Callianassid shrimp (life.bio.sunysb.edu/marinebio/soft_05.jpg) construct the lining. Ophiomorpha burrows can go quite deep. This ichnogenus goes back to the Middle Jurassic. The burrow is the habitation location for the shrimp - it hardly ever goes out after the larval stage.

Ophiomorpha architecture varies - shafts, tiered mazes, irregular boxworks. Shaft Ophiomorpha architecture is not found in the Bahamas or in carbonates.

Callianassids are decapod crustaceans (Thalassinidea). There are 155 living species of Family Callianassidae. Actually, there are now >200 species.

Callianassids are part of the marine benthos - they are mostly burrowers. They are gone north of Myrtle Beach. There’s a high number of species in the tropics. 95% of callianassids are intertidal to shallow marine.

Ichnofabric - all aspects of texture & internal structure of sediments from bioturbation.

Glypturus acanthocinus Stimpson, 1866 is the callianassid shrimp seen on San Salvador Island. This is the callianassid species that makes the mounded topography seen in Pigeon Creek in southeastern San Salvador Island, Bahamas - biogenic topography. Glypturus acanthocinus is an ecosystem engineer - it lives 1 to 1.5 m below the substrate. It’s hard to catch.

Glypturus acanthocinus burrow architecture - a tiered spiral is shown in the literature & by resin casts.

Callianassid tropical habitats - backreef lagoons, adjacent to & within coral reefs, leeward shelf of isolated platforms, platform shelves.

There’s probably >1 species of callianassid on San Salvador Island.

Shallow subtidal = backreef lagoonal environments & tidal channel environments.

Graham’s Harbour - it's ~1.5 m down to bedrock at the beach; bare areas are heavily callianassid burrowed & in grassbeds (despite what the literature says).

An excurrent structure occurs at the tip of the mound (sand volcano). An incurrent structure occurs at the base.

The pockets of burrows accumulate coarser-grained sediments, but this hasn’t been seen yet in the rock record.

Ophiomorpha walls are quite thick - up to 1 cm thick. Can get giant callianassid Ophiomorpha tunnels.

Ophiomorpha walls are a mix of sediments and fecal pellets (fine-grained sediments/mud).

Some have shafts/tunnels with blind endings (terminus structures).

Have also seen examples from Exuma and Rum Cay and from a stromatolite-bearing tidal channel at Lee Stocking Island (all in the Bahamas).

Some Ophiomorpha burrows have incorporated shells.

Shafts/tunnels are commonly 1.5 to 4 cm wide.

Favriina coprolites - callianassid fecal pellets - have networks of holes within them - the pattern is species-specific.

Ichnogenic macroporosity:

1) intraburrow porosity - tube interior

2) interburrow porosity - between burrows (in close proximity) - they form a framework - in such situations, the matrix is more likely to be removed than the framework itself.

Cockburn Town Fossil Reef on San Salvador Island - can see both intraburrow and interburrow porosity. Do the porosity patterns seen here occur at depth?

Miami Limestone & Biscayne Aquifer - the main water supply in southern Florida.

Floridan Aquifer - a deeper aquifer than Biscayne.

Biscayne Aquifer porosity - matrix porosity (mm scale or less) + macroporosity (caves & Ophiomorpha burrows).

Miami Limestone - cf. ooid shoals (intertidal/shallow subtidal of Joulter Cay - callianassids occur there).

Miami Zoo - the blocks that animals climb on & the facing stones there have Ophiomorpha ichnofabric.

Miami Limestone - air-rock - largely pore space - both intraburrow and interburrow porosity are present from lots of Ophiomorpha.

Florida's Alice Wainwright Park has Miami Limestone with Ophiomorpha, from Glypturus acanthochinus callianassid shrimp - have tiered spiral burrows. There is >1 Ophiomorpha maker species, apparently.

Examples of ichnogenic macroporosity:

1) Ophiomorpha macroporosity - Miami Limestone of southern Florida & Upper Pleistocene of Bahamas.

2) Thalassinoides (www.southampton.ac.uk/~imw/jpg-Portland-Harbour/8PTH-U-Sa...) (Ex: superperm in the Ghawar Oil Field, Arabia)

3) mangroves

Robert Cremean: STUDIO SECTION 2008-2009 by rdlv1

MONOLOGUE OF ART, on the left quadrant of the center diptych of the West Wall, which may be read below.

STUDIO SECTION 2008-2009 is an extension of the “non-specific autobiography” realized and examined by Robert Cremean in VATICAN CORRIDOR, A Non-Specific Autobiography. It consists of three parts: East Wall: Calvary—Donors With Crucifixion, in which the artist gives unprecedented voice both to Gestas and to Dismas who were crucified with Jesus; Il Passetto, the corridor in which he makes a metaphoric exposition of the treatment of women by the three “hats”: the helmet of the warrior, the mitre of religion, and the bowler of commerce; and West Wall: Self-Portrait As a Young Artist in which “the young artist” is addressed verbally and metaphorically through three monologues: the Monologue of Art, the Monologue of the Artist, and the Monologue of History. Listening to the conflicting and diametrically opposing views written on the diptych behind him on the West Wall is the bust of the young artist who looks with an inscrutable gaze through the horrors of Il Passetto to the horrors of Calvary on the East Wall and at the Donors, aloof and blinded to the controlled chaos behind and in front of them.

These are but a few of the ideas and images contained within STUDIO SECTION 2008-2009. As in any work of art, the viewer may create his own world out of the images, metaphors and words confronted therein.

STUDIO SECTION 2008-2009

East Wall: Calvary--Donors With Crucifixion

West wall: Self-Portrait As A Young Artist

Middle: Il Passetto

2008-2009

Wood, wood mâché, metal, gesso, modeling paste, acrylic, graphite

Each of the six diptychs measures 8' x 8' 1"

Over all dimension for exhibition: 40' x 40'

Collection:

Toledo Art Museum

Toledo, Ohio

Monologue of Art

I am that which you seek but cannot find...never find...must never find. Listen...your ear creates my voice. I have no other. I am silence. You call me Art. Others call me God...but I am silence. I am that which remains among the ashes after the death of species...that which has never been and will always be. Voiceless, it is I, only I which will remain. You dream of mastery yet only failure can create you. You are neither too young to hear my voice nor too old to seek my song. My distance remains the same. Like the horizon, I am unattainable. Failure is your fortune and your legacy. Embrace it. Create my voice. There is no greater joy—no more thrilling existence than the creation of silence. I make verbs out of nouns. From silence, the creation of my voice, you can hear the thunder of my song. I will enter you. I will change you. If you are open to me, I will enter you. As the alchemist can turn lead into gold, I will change noise into silence. Through your work, through my song, you can force the silence. Young artist, history will inform you that fame and fortune is the name of the game—and he is just in his honesty. But what if it is not a game...what if it is something else entirely? My utterances cannot be deemed honest for there is no proof of their existence. My song lies within the bourn of the responder. Only he or she can bear witness to my existence. Only he or she can give testimony to my being...to my Isness. I do not exist in nature. I am resident in artifacts of art, music, and poetry but am discovered only within the bourn of the responder. Only he or she can create me, make my song tactile within the bourn. I cannot be recorded or historicized...nor would the responder wish it so. Our intimacy goes beyond intimacy. It is wordless and absent of description, life changing and orgasmic. If an artist creates my song within his bourn, his Desire cannot be tethered. He will embrace me forever within the ecstasy of failure. You are feeling the first stirrings of Desire—longing, detachment, otherness, expectation. I am your purpose. You will serve no other. You know also who you are and what you must seek. You are free. Embrace me. Seek my song. You are yet to be. I do not remember my first creation nor do I remember my last. On rare occasions, perhaps, they occur simultaneously on separate points of the horizon on different continents with differing intensities of climax. My inception is of no concern...where or with whom is not my concern. That I am capable of inception is my only concern. I cannot be taught. I cannot be learned. I can be conceived only within the bourn of the responder and any artifact is capable of inducing response on any level at any place at any time to anyone. I am a threat to any and all order...culture, history, isms, and schisms. I am chaos. I am Art. Odes are written to me but these are adulations of my masks of seduction: cultural compatability, historical compliance, servility in hierarchism, commercial desirability, societal pliability, adornment, harmony of consensus, and on and on...But I am created within the solitary bourn of the responder, and for that I am borne without masks. I simply occur. Without pretense or placement, I simply occur, unexpected and unintended. History records my masks. He sees no other countenance. How could he?—Why should he? Our realities lie on opposite sides of the horizon. My entelechy repudiates actualism. Facts and dates. Movements and influences are history’s province. If you find necessity in such matters. If you seek answers rather than questions, young artist, you will not live beyond your years. Through esthetic response I penetrate the bourn. The responder has no defense against my injection. The conception is immediate and can be cataclysmic depending on the profundity of response. Only sexual orgasm is comparable. It, too, exists without vocabulary. It, too, is ahistorical. It, too, is nondescriptive with a response that is a sudden shift in reality. It, too, need happen only once to instill abiding Desire within the sanctum of the bourn. I ask nothing of you nor do I instruct. I speak only if you hear my voice. Many artists create artifacts without having heard my voice and yet their artifacts may create response within the bourn of the responder. Who responds and who creates is not our concern for you know, at least, that we are not strangers. Your response in Florence was orgasmic. You have wrung my song from me with a passion for one so young. It will attend you always, for the better or for worse. You have confirmed my reality. Do not mistake me for the artifact that carries me. Art is not extant in objects or artifice. I exist as verb rather than noun contained by event. I am chaos unleashed by response to shatter the bourn. Only questions exist for you now...and failure. Only Desire lies extant within your bourn. Shorn of ego, you must build a new gestalt. There are no rewards to nourish you outside the reality of the bourn, All climax will be onanistic. As an artist, you have no further need of me. My song has freed you from the bonds of history and culture. You have created my voice within the bourn and have no further need of me...and by experiencing my reality you have reconfirmed my Isness. Transparency is our beginning and our end.Neither one of us can prove that the other exists except through response. We must be confirmed within the bourn of the responder as the responder is created creator within the sanctity of the bourn. Not all artists are created equal. Some few imbue within their artifacts strengths that transcend the cultural metaphors of their time. This seems especially true of music...you, however, are a sculptor and must overcome the physicality of your craft. Apart from architecture, which houses us all, sculpture is too there and not there enough. Of all the arts, it moves clumsily through time and space...But you are a sculptor...By desire and temperament you are a sculptor. Is your desire large enough, strong enough to sustain penetration?..To make that which is three dimensional two dimensional, and that which is two dimensional, three dimensional? These are the near impossibilities of your craft. To draw in space requires wizardry. Are your hands coherent and your eye compliant?..and your reach?..and your courage?..and your strength? There is some weakness that I sense, some flaw, something not secure in the spine of self...Whether I abide in your confections is neither here nor there to me. This is your dilemma, young artist. You must become authentic. I reside where and when I am found. I do not choose my abode. Only the responder is my creator. I reside where I am found and found where I am created. Art history is my nemesis. It seeks to force into linear time my most potent artifacts, limiting accessability and encouraging prejudice. By establishing an artificial distance between artifact and viewer, response is hampered and confusion occurs. To view an object—any object—viewer and object must exist in the same space at the same time. To impose historical distance when response is imminent is like having a chaperon in the room...except for “contemporary art” wherein group fornication is encouraged. My creation occurs only when one viewer responds to one artifact in one space at one time. I exist only in the bourn of that one responder, my only furtherance being the life span of that bourn. I am acultural, ahistorical, indescribable, and irrevocable, my existence, mythical, except to the altered state of my creator. My greatest fecundity gestates within artifacts of deep transparency and responders of fierce Desire and necessity...I am of rare creation. Appreciation opacifies my transparency, obscuring reflection, emphasizing object. Often the objects that contain me become entombments through oppressive historicity. Desire is conflicted through bifurcation of furtherance and I am removed from possibility of broad random response. This duality between Art and artifact is of delicate balance. Spontaneity of response is subject to intellectual restraint and deflection. Nothing, however, can restrain response once engagement has been made. Regardless of historical labeling and cultural accreditation, any artifact, no matter how humble or critically acclaimed, has the potential to induce response. Only the viewer/responder can create me. Only the responder can determine the depth of profundity of response. I can reside in a child’s beloved toy and in a grand collector’s “masterpiece” and if response does not catalyze my becoming, I do not exist. I am a gestalt of many metaphors; none, however, define my totality...all ensure my furtherance. Metaphors such as art is beauty, art is pleasure, art is treasure, art is entertainment, art is culture—all of these ensure the endurance and resurgence of my artifacts. I am man’s beginning and his end, Desire, his perfect isness. Through Art, I am revealed in awesome certitude. If and when response occurs, I will feel nothing. I am not imbued with empathy. I am mankind’s beginning and its end...not its witness. Man is part of my gestalt, not I his. He is that which I am and have always been and will be until we are no more. He seeks fulfillment. He seeks what he cannot attain which is himself. He must eternally glimpse and grasp because his isness is Desire. He plays with death because life is too complex and too simple to grasp. He cannot gain or grasp me for I am himself...and he fears himself. He fears Art. He fears transparency. He fears response. He must be taken by surprise. Culture seeks to protect him offering instruction and formulae to ward off ambush. Ridicule is a powerful ally when enforcing conformity and there is nothing more ludicrous than ignorance. Resistance to cultural intimidation requires courage. The creation of Art has nothing to do with the creation of culture. We are not synonymous. It is culture, young artist, that will test you to the limits of your weakness and your strength. Friends will become enemies or, worse, strangers. Enemies will remain enemies, therefore a source of consistency...and ever and always your survival relies on an embrace of failure. You must judge always from the inside out rather than be judged from the outside in. Accept neither praise nor criticism...both will destroy you...both seek to control. The search for transparency is your sole reward and purpose. There is no other constancy. I am culture’s enemy for it cannot control my residency; only you have the power to enfold me. Though I can be created only within the bourn of the responder, your artifacts are the catalysts for Art’s creation. Be humble though it be mistaken for arrogance. Your critics can neither create nor destroy you. They are as frass in amber. As you seek to increase my transparency, I increase my depth. It is only your embrace of failure that makes your endurance plausible. I am that which you seek but cannot find...will never find...must never find. Only your artifacts are significant. Only they are of necessity. Only they enfold the possibility for my creation. It is only my release from your artifacts that gives their making meaning. It is for history to recored your significance...It is for me to forgive your life. As science stretches out toward the beginning of the universe, Art’s transparency opens inward to the revelation of Desire. Hubble, an artifact of science, transmits data that is transforming humanity’s idea of itself, dispelling superstition, and confronting ignorance. Artifacts of art rely on history to certify their qualifications for ensurance of furtherance. Would it were otherwise, young artist. Your culture has abandoned the Now to be reflected in the mirror of a future that will never be. My nowness cannot flourish in a past of such obvious fabrication...And you, young artist, must avoid remembrance in such reflection. You will be dead soon enough without embellishing the corpse of a culture in atrophication. History is linear. It seeks to connect all links. Since history ended on 8/6/45, culture-makers seek now to fill a void with objects and isms in a pretense toward linkage. These attempts are futile. All life hangs within the suicide’s time frame. All that is has been irrevocably changed. The making of historical links has become mannered and meaningless; the artifacts, hollow and circumstantial. What then of you, young artist, why do you labor? I have enough, more than enough, artifacts to catalyze my creation. I have no need of more... Desire was my beginning and Desire will be our end. What began as Art will end with science...Mankind has misdirected both and history will lead us unrecorded into nihility. 8/6/45 is a date like no other. In actuality, parts and pieces of life may survive its significance. But for my creator three generations have since devolved into mutation. Reality is where I am created deep in the bourn of the responder. My creation has become a cause for pain and profound sorrow. Ecstasy no longer describes the orgasmic experience within the bourn...There is also anger and resentment against the forces that have brought humanity to conclusion and all life to finality. The aesthetic experience no longer creates passionate silence but intolerable rage. The words, “How dare they!” ride the tongue of my responder...“How dare they ignore what they have done!” “How dare they pretend that nothing has irrefragably changed!” “How dare they continue their drive toward annihilation with blind compulsion!” Enough!

Collection of PUBG items by ☆Woshinishushu ☆

Because CDKEY prices are changing every day! Please ask me the specific price!

Trio of Friendship Cards by prospurring (Anne)

3 19

Hi there! I made this trio of friendship cards with three, specific, online blogging friends in mind. Just wanted to make something cheerful to celebrate our friendships. It will be fun to send them snail mail for a change! :-)

Friends: This card is for a special blogging friend. We visit each other's blogs often and she always brightens my day!

You're Special: This card is for another blogging friend who has become very special to me!

You Made My Day: This card is for a third blogging friend. She really made my day the other day ... and I want to celebrate and recognize that!

Views:

* Trio of Friendship Cards

* Friends card

* You're Special card

* You Made My Day card

Materials used:

* Basic Grey Two Scoops 6"x6" paper pad

* Bazzill Basics 8.5"x11" cardstock: Ocean Breeze

cardstock: aqua (slightly darker than Bazzill), dark turquoise, and white

* Clearsnap/ColorBox Cat's Eye pigment ink: Peacock

* EK Success 3D-Dots: 1/8" squares and 1/16" squares

* eyelets, silver

* Heidi Grace double-sided cardstock: Frost Blvd./Stitch Stripe (discontinued)

* Hero Arts CL130 Frames and Messages

* Hero Arts CL129 Anytime Messages ("you made my day" sentiment)

* Hero Arts CL151 Share Laughter ("friends" sentiment)

* Ranger Archival Ink (waterproof): jet black

* ribbon, white and pale green

Also for Deloris' NIFTS Challenge (Need Ideas For This Stamp).

Thanks for looking!

aNarvik-NSB-EMU-fjord by tisdalem2001

1

Malmbanan and Narvik, 27 and 28 March 1980

While I was touring Europe by rail in March 1980, I made up the trip as I went along, generally not planning more than a few days in advance where I was going. Often it depended on where I was and were I could get to overnight on a train.

I had a few specific goals, among them riding Le Mistral and the Rheingold, the premier trains of France and Germany at the time and both TEEs. I saw a new item about Italy's Paola-Cosenza rack line still running steam in Continental Railway Journal, so I included it in my trip. I wanted to see some of Switzerland and had a day when I rode the Gotthard, Simplon and Lotschberg lines in a day trip from Luzern, where I was staying, to Milan and back. The now well worn February 1980 copy of Cook's International Timetalbe now on the table next to me was invaluable for figuring all this out.

My Euirailpass had come with a rail map of Europe, showing the lines where the pass was valid, and something I'd noticed was a line in far northern Sweden and Norway ending at Narvik, on the Norwegian coast. I don't think I knew much about the line at the time, other than that it was above the Arctic Circle and was as far north as I could reach by rail in western Europe. (Wikipedia says its northernmost point is 68.452 degrees north latitude.) I've since gone through my collection of rail magazines and realized that I might have read about the line to Narvik before I went there, but at the time it was an abstraction, a far away place that might as well have been Olympus Mons or the Sea of Tranquility for me. Anyway, I don't think I had any clue of what to expect when I boarded the Nordpilen (Northern Arrow) in Stockholm the night of 26 March.

Cook's had shown me that the train to Narvik left Stockholm at 1632 and was due into Narvik at 1400 the following afternoon. It was not really a through train as the sleeper and couchettes from Stockholm only went as far as Kiruna. Meanwhile, it would have picked up some coaches and 3 of those would continue on from Kriuna to Narvik. The train was a classic overnight run with cars for various destinations as it left Stockholm as well as picking up cars along the way..

My notes say that out of Stockholm, we had a Rc4, three 2nd class and one 1st class coach for Ostersund, a self service diner, a 2nd class coach for Ange, two couchettes and a sleeper for Krruna and three sleepers and a couchette for Lulea..

I had food with me as European train food was often expensive and not all trains had food service. Cooks says the Nordpilen had a diner for dinner and as far as Kiruna for breakfast.

Normally, on overnight trips, I'd sleep in a first class coach compartment as I had a first class Eurailpass, but on the Nordpilen, I was in a couchette, an economy sleeper with 6 berth compartments. I probably slept like a rock...whether the other people in the compartment did with my snoring is another matter.

At some point in the morning we stopped at the Arctic Circle sign., I thought it was a signal stop at first, but then saw the sign out the window and I presume the stop was made so people could see it and get photos if they wanted.

Kiruna was the last major community in Sweden on our route and it turned out to be a major iron mining center and the reason for the line's existence. The railroad reached Kiruna in 1899 and then was pushed over the mountains to Narvik to give the ore an Atlantic Ocean port, being completed in 1903.

In addition to shedding the couhettes and sleeper from Stockholm and a coach-diner from Lulea in Kriuna, the Nordpilen swapped its Rc4 electric for a Da 1-C-1 jackshaft drive electric. The Da series dated from the 1950s, had about 2500 HP and a maximum speed of 100 km/h. This was more than adequate for the train and railroad between Kiruna and Narvik.

We left Kriuna on time at 1100 and headed into some very remote country. There were a few towns along the way, but to give you a feel for how small they are, the Nordpilen stops at Abisko, which has 85 people.

At about 1310, we stopped at Bjornfjell, just inside Norway and stayed there for a while. Up to that point, we'd been on time. We heard there was a derailment ahead. another train was in the station, also 3 cars behind a Da. This train was also headed for Narvik, and my notes say that it was coupled to the end of our train when we left. Cook's lists a train that left Kiruna at 0700, so if that was the train already in the station, it had been there a while.

I got off the train and took some photos of the trains, station and snowsheds. The station had a cafe and I warmed up with coffee from it. At the time, there was not a road from Narvik to Sweden through Bjornfjell, but that changed in 1984.

At about 1515, with the other train's Da locomotive run around to the end of the train, we headed west, with Da, 6 cars, Da. It is 40 km from Bjornfjell to Narvik and the line is called the Ofotbanan in Norway, although the whole route if frequently referred to by the Swedish Malmbanan.

Bjornfjell is at 514 meters elevation and the line drops to sea level at Narvik. The 40 km separating the two stations is one of the most spectacular routes anywhere in the world and only its remoteness keeps it from being as well known as the Moffat line out of Denver, Donner Pass or various Swiss mountain railways. It runs along Narvik Fjord and the whole trip is nothing short of gorgeous. As we were two hours late, we had late afternoon light, as well.

We stopped again at Katterat, about 10 km from Bjornfjell and met an uphill ore train and a passenger train, probably the Nordpilen, which was scheduled to leave Narvik at 1500. My notes say we were going again at 1650 and arrived in Narvik at 1728, 3 1/2 hours late.

Railroading above the Arctic Circle presents challenges!

Several of us walked from the station to the hostel. I remember talking to one woman who lived somewhere near Narvik that would require a ferry ride to get to and the last ferry had already left for the evening, so she was spending the night at the hostel.

After getting checked in and having dinner, I went out and got photos of the sunset and the lights on the harbor. As this was after the spring equinox and we were above the Arctic Circle, the sky still had color at 10 at night.

The next day (28 March), I explored Narvik. Its main reason for being is as the port for the ore, and is the biggest community in the area with 20,000 people. The photos aren't really in order by time, but I grouped them by location with the station, ore dock and general harbor and city scenes together. My notes say that in addition to ore trains with the 3 unit jackshaft drive Dm3 electrics and NSB class 15s, I saw an NSB DMU train depart, then the Nordpilen arrive, although I don't seem to have a photo of the Nordpilen's arrival.

The Dm3s were quite a sight, They were 3 unit 1'D+D+D'1 jackshaft drive engines built from 1954 to 1971. The last were retired in 2011, but some are preserved. They had 9,700 HP and were geared for a maximum speed of 75 km/h. Not speed demons, but they got the ore up and down the mountain for decades.

The Nordpilen left on time at 1500, and afforded another sightseeing trip up the fjord. My notes say that the train's 5 cars filled up when we stopped at various Swedish stations with skiers. 28 March was a Friday, so, perhaps, people were also going from remote towns into larger communities for the weekend.

I switched to a couchette at Kiruna. We left almost on time at 1825, having replaced the Da with an Rc4 and added 3 couchettes and a sleeper (or maybe it was 2 and 2, I wasn't sure about one car) and a diner-coach. The coaches and diner would be taken off at Boden and continue to the port city of Lulea on the Gulf of Bothnia. Aslo at Boden, sleepers and couchettes from Lulea would be added to the train for the run to Stockholm.

After 3 days of beautiful weather in Stockholm and the far north, the weather turned wet. The Nordpilen arrived in Stockholm around 1315, which would have been maybe 5 minutes late. With the wet weather, I just hung around Stockholm station until my next train was due to leave, the 1547 train to Malmo and Copenhagen, which had a through cars to Hamburg and Berlin, the Berlin car being a Mitropa sleeper. (Mitropa was the East German sleeping dand dining car company.)

On the trip south from Stockholm, I rode in the the through car to Hamburg, a DB 1st/2nd composite car. It was packed. It seemed that a Danish gymnastic team had missed an earlier train and was on this one. I wound up on a jump seat in the aisle. At one point, someone saw me reading the International Herald-Tribune and asked if she could see it when I was done. When I said "Sure" she exclaimed, "He's American!" in shock, which got some laughs. Several of the gymnasts and I got to talking and I swapped addresses with one of them, whom I visited the following year.

After Copenhagen, I had a compartment to myself in the Copenhagen-Konstanz coach and rode that to Frankfurt overnight.

With Norwegian Airlines offering cheap flights on Oslo and Stockholm from Oakland, I have been itching to get back to Scandinavia and have another go at the Malmbanan. No Dm3s these days, but heavy ore trains still run along the fjord and I'd like a few days to do some linesiding at the little stations where we stopped. Perhaps when I retire.

Venue Specific Training by Pauline~Glasgow

3 3

Today at the Glasgow Club's Scotstoun Leisure Centre.

Konstructive_Cycles_Berlin_Kalender_201600008 by revolutionsports.eu

Konstructive Cycles Berlin

Further details via Revolution Sports Distribution. www.revolutionsports.eu

WHO

Konstructive Cycles is a German cycling brand. Konstructive Custom Dream Bikes and accessories are designed in Berlin, Germany and hand made by the best craftsmen in Europe. Konstructive Cycles Berlin are distributed by RevolutionSports.eu.

WHAT

Konstructive Cycles develops high performance carbon and steel Bikes, components, high-end accessories and functional clothing. The bike categories include Road Bikes, Cyclo-Cross Bikes, Mountain Bikes as well as niche products. We offer complete bicycles with various build kit options and individual frames. Our products are for bike enthusiasts and weight conscious riders and racers (weight weenies).

WHY

Konstructive Cycles offers quality instead of quantity and focuses on the most important details. The era of individualization has started. Konstructive Cycles Berlin would like to build your exclusive Dream Bike tailored to your specific needs.

HOW

Get more information and start to configure your ultimate Dream Bike on our Website: www.konstructive.de.

Get in touch with us and support products made in Germany and Europe!

KONSTRUCTIVE CYCLES BERLIN

WER

Konstructive Cycles ist eine deutsche Marke Konstructive Cycles Berlin Produkte werden in Berlin entwickelt und gestaltet (Design Made in Germany) und von den besten Handwerkern in Europa gefertigt (Made in Europe). Die Firma RevolutionSports.eu vertreibt die hochwertige Dream Bikes (Traumbikes) und Zubehörprodukte.

WAS

Konstructive Cycles entwickelt Hochleistungs-Bikes aus Carbon und Stahl, Komponenten sowie exklusives Zubehör und Funktionsbekleidung. Zu den Bike-Kategorien zählen Rennräder, Cyclo-Cross Bikes, Mountain Bikes und zahlreiche Sonderlösungen. Wir bieten komplette Bikes mit vielfältigen Ausstattungsoptionen und einzelne Rahmen an. Unsere Produkte werden für Bike-Enthusiasten entwickelt, die besonderen Wert auf Qualität und ein niedriges Gewicht ihres Bikes legen.

WARUM

Konstructive Cycles bietet Klasse anstatt Massenware und legt großen Wert auf alle wichtigen Details. Für uns hat die Ära der Individualisierung begonnen. Konstructive Cycles fertigt Ihr individuelles Traumbike, zugeschnitten auf Ihre persönlichen Wünsche.

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Nutzen Sie die Informationen auf unserer Website und konfigurieren Sie Ihr ultimatives Traumbike:

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Nehmen Sie Kontakt zu uns auf und unterstützen Sie Produkte aus Deutschland und Europa!

2017-critical-run-in-kassel--is-documenta-dangerous by Thierry Geoffroy / Colonel : Artist

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

en.wikipedia.org/wiki/Thierry_Geoffroy

Documenta From Wikipedia,

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

History

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

other biennales :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

www.emergencyrooms.org

www.colonel.dk/

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

#protestart

Thailand - Bangkok - Wat Phra Kaeo - 84 by Manfred Sommer

Wat Phra Kaew (Thai: วัดพระแก้ว, rtgs: Wat Phra Kaeo, IPA: [wát pʰráʔ kɛ̂ːw], Pronunciation, English: Temple of the Emerald Buddha; full official name Wat Phra Si Rattana Satsadaram, Thai: วัดพระศรีรัตนศาสดาราม, IPA: [wát pʰráʔ sǐː rát.ta.náʔ sàːt.sa.daː.raːm]) is regarded as the most sacred Buddhist temple (wat) in Thailand. The Emerald Buddha housed in the temple is a potent religio-political symbol and the palladium (protective image) of Thai society. It is located in Phra Nakhon District, the historic centre of Bangkok, within the precincts of the Grand Palace.

The main building is the central phra ubosot, which houses the statue of the Emerald Buddha. According to legend, this Buddha image originated in India where the sage Nagasena prophesized that the Emerald Buddha would bring "prosperity and pre-eminence to each country in which it resides", the Emerald Buddha deified in the Wat Phra Kaew is therefore deeply revered and venerated in Thailand as the protector of the country. Historical records however dates its finding to Chiang Rai in the 15th century where, after it was relocated a number of times, it was finally taken to Thailand in the 18th century. It was enshrined in Bangkok at the Wat Phra Kaew temple in 1782 during the reign of Phutthayotfa Chulalok, King Rama I (1782–1809). This marked the beginning of the Chakri Dynasty of Thailand, whose present sovereign is Bhumibol Adulyadej, King Rama IX.

The Emerald Buddha, a dark green statue, is in a standing form, about 66 centimetres tall, carved from a single jade stone ("emerald" in Thai means deep green colour and not the specific stone). It is carved in the meditating posture in the style of the Lanna school of the northern Thailand. Except for the Thai King and, in his stead, the Crown Prince, no other persons are allowed to touch the statue. The King changes the cloak around the statue three times a year, corresponding to the summer, winter, and rainy seasons, an important ritual performed to usher good fortune to the country during each season.

HISTORY

In 1767, the Kingdom of Ayutthaya fell to the Burmese, and King Taksin then moved the capital to Thonburi where he built the old palace beside Wat Arun on the west bank of Chao Phraya River. In 1778, Taksin's army under the command of Chao Phraya Chakri (who later became Rama I) captured Vientiane and took the Emerald Buddha back to Thonburi.

In 1782, King Rama I succeeded to the throne and founded the Chakri Dynasty, and he decided to move the capital across the river to Bangkok as it would be better protected from attack. The site chosen for the palace is situated between two old wats, Wat Pho and Wat Mahathat, an area inhabited by Chinese residents who were then moved to the present Chinatown. He started the construction of the Grand Palace so that the palace may be ready for his coronation in 1785. Wat Phra Kaew, which has its own compound within the precinct of the palace, was built to house the Emerald Buddha, which is considered a sacred object that provides protection for the kingdom. Wat Phra Kaew was completed in 1784. The formal name of Wat Phra Kaeo is Phra Sri Rattana Satsadaram, which means "the residence of the Holy Jewel Buddha."

Wat Phra Kaew has undergone a number of renovations, restoration and additions in its history, particularly during the reign of King Rama III and Rama IV. Rama III started the renovations and rebuilding in 1831 for the 50th Anniversary of BangkoK of 1832, while Rama IV's restoration was completed by Rama V in time for the Bangkok Centennial celebrations in 1882. Further restoration was undertaken by Rama VII on Bangkok's 150th Anniversary in 1932, and by Rama IX for the 200th Anniversary in 1982.

EMERALD BUDDHA

It is not known when the statue of the Emerald Buddha was made, but it is generally believed that it was crafted in 14th-century Thailand. However, there are also claims that the statue originated in India or Sri Lanka. None of these theories can be firmly established as none of the historians could get a close look at the statue.

According to one account, the Emerald Buddha was found in Chiang Rai, Lanna in 1434, after a lightning storm struck a temple. The Buddha statue fell down and later became chipped, and the monks, after removing the stucco around the statue, discovered that the image was a perfectly made Buddha image from a solid piece of green jade. The image was moved a few time to various temples, first to Lampang, then to Chiang Mai, from where it was removed by prince Chao Chaiyasetthathirat to Luang Prabang, when his father died and he ascended the throne of both Lanna and Lan Xang, in 1551. The statue remained the it to his new capital of Lan Xang in Vientiane in the 1560s. The statue remained there for twelve years. King Chaiyasetthathirat then shifted it to his new capital of Lan Xang in Vientiane in the 1560s. He took the Emerald Buddha with him and the image remained in Vientiane for 214 years until 1778.

In the reign of King Taksin, Chao Phya Chakri (who later became Rama I) defeated Vientiane and moved the Emerald Buddha from Vientiane to Thonburi where it was installed in a shrine close to Wat Arun. When Chao Phra Chakri took over the throne and founded the Chakri Dynasty of the Rattanakosin Kingdom, he shifted his capital across the river to its present location in Bangkok. The Emerald Buddha was also moved across the river with pomp and pageantry and installed in the temple of Wat Phra Keaw.

LEGENDS

There a number of legends associated with the Emerald Buddha. It was said the iconic image of the Emerald Buddha was made by Nagasena, a saint in Pataliputra (present day Patna), India, who, with the help of Hindu god Vishnu and demigod Indra, had the Emerald Buddha image made. Nagasena predicted that:

The image of the Buddha is assuredly going to give to religion the most brilliant importance in five lands, that is in Lankadvipa (Sri Lanka), Ramalakka, Dvaravati, Chieng Mai and Lan Chang (Laos).

The Emerald Buddha image was taken to Sri Lanka after three hundred years in Pataliputra to save it during a civil war. In 457, King Anuruth of Burma sent a mission to Ceylon with a request for Buddhist scriptures and the Emerald Buddha, in order to promote Buddhism in his country. These requests were granted, but the ship lost its way in a storm during the return voyage and landed in Cambodia. When the Thais captured Angkor Wat in 1432 (following the ravage of the bubonic plague), the Emerald Buddha was taken to Ayutthaya, Kamphaeng Phet, Laos and finally Chiang Rai, where the ruler of the city hid it, and was later found.

ARCHITECTURE

Wat Phra Kaeo has a plethora of buildings within the precincts of the Grand Palace, which covers a total area of over 94.5 hectares. It has over 100 buildings with “200 years royal history and architectural experimentation” linked to it. The architectural style is named as Rattanakosin style (old Bangkok style). The main temple of the Emerald Buddha is very elegantly decorated and similar to the temple in ancient capital of Ayudhya. The roof is embellished with polished orange and green tiles, the pillars are inlaid in mosaic and the pediments are made of rich marble, installed around 18th century. The Emerald Buddha is deified over an elevated altar surrounded by large gilded decorations. While the upper part of this altar was part of the original construction, the base was added by King Rama III. Two images of the Buddha, which represent the first two kings of the Chakri dynasty, flank the main image. Over the years, the temple has retained its original design. However, minor improvements have been effected after its first erection during Rama I's reign; wood-work of the temple was replaced by King Rama III and King Chulalongkorn; during King Mongkut's reign, the elegant doors and windows and the copper plates on the floor were additions, Rama III refurbished the wall painting (indicative of the universe according to Buddhist cosmology) and several frescoes that display the various stages of the Buddha's life; three chambers were added on the western side by King Mongkut; in the chamber known as 'Phra Kromanusorn' at the northern end, images of Buddha have been installed in honour of the kings of Ayutthaya; and in the 19th century, In Khong, a famous painter executed the wall murals. The entry to the temple is from the third gate from the river pier.The entrance is guarded by a pair of yakshis (mythical giants – 5 metres high statues). The eponymous image Buddha in brilliant green colour is 66 centimetres (26 in) in height with a lap width of 48.3 centimetres. It is carved in a yogic position, known as Virasana (a meditation pose commonly seen in images in Thailand and also in South India, Sri Lanka and Southeast Asia). The pedestal on which the Emerald Buddha deified is decorated with Garuda (the mythical half-man half-bird form, a steed of Rama, who holds his mortal enemy Naga the serpent in his legs) motifs It is central to Thai Buddhism. The image made with a circular base has a smooth top-knot that is finished with a "dulled point marking at the top of the image". A third eye made in gold is inset over the elevated eyebrows of the image. The image appears divine and composed, with the eyes cast downward. The image has a small nose and mouth (mouth closed) and elongated ears. The hands are seen on the lap with palms facing upwards.

The entire complex, including the temples, is bounded by a compound wall which is one of the most prominent part of the wat is about 2 kilometres length. The compound walls are decorated with typically Thai murals, based on the Indian epic Ramayana. In Thai language these murals are known to form the Ramakian, the Thai national epic, which was written during the reign of Rama I. The epic stories formed the basic information to draw the paintings during the reign of King Rama I (1782–1809). These paintings are refurbished regularly. The murals, in 178 scenes, starting with the north gate of the temple illustrates the complete epic story of Ramayana sequentially, in a clockwise direction covering the entire compound wall. The murals serve to emphasise human values of honesty, faith, and devotion.

There are twelve salas that were built by Rama I, around the temple. They house interesting artefacts of regions such as Cambodia and Java. One of these salas had an inscription of Ramkamhaeng, which was shifted, in 1924, to the National Library. During the reign of King Mongkut, the Phra Gandharara – small chapel on the southwest corner – and a tall belfry were new additions.

WORSHIP AND CEREMONIES

Early in the Bangkok period, the Emerald Buddha used to be taken out of its temple and paraded in the streets to relieve the city and countryside of various calamities (such as plague and cholera). However, this practice was discontinued during Rama IV's reign as it was feared that the image could get damaged during the procession and also a practical line of thinking that Rama IV held "that diseases are caused by germs, not by evil spirits or the displeasure of the Buddha". The image also marks the changing of the seasons in Thailand, with the king presiding over the seasonal ceremonies.

Like many other Buddha statues in Thailand, the Emerald Buddha is dressed in a seasonal costume. It is a significant ritual held at this temple. In this ritual, dress of the deity is changed three times a year to correspond to the seasons. In summer it is a pointed crown of gold and jewels, and a set of jewelled ornaments that adorns the image from the shoulders to the ankles. In winter, a meshed dressing gown or drapery made of gold beads, which covered from the neck down like a poncho is used. During the rainy months, a top-knot headdress studded with gold, enamel and sapphires; the gold attire in the rainy season is draped over the left shoulder of the deity, only with the right shoulder left bare while gold ornaments embellish the image up to the ankles. The astrological dates for the ritual ceremonies, at the changing of the seasons, followed are in the 1st Waning Moon of Lunar Months 4, 8 and 12 (around March, July and November). The costume change ritual is performed by the Thai king who is the highest master of ceremonies for all Buddhist rites. On each occasion, the king himself "cleans the image by wiping away any dust that has collected and changing the headdress of the image". Then a king's royal attendant climbs up and performs the elaborate ritual of changing garments of the image as the king is chanting prayers to the deity. On this occasion, the king sprinkles water over the monks and the faithful who have assembled to witness the unique ritual and seeks blessings of the deity for good fortune during the upcoming season. The two sets of clothing not in use at any given time are kept on display in the nearby Pavilion of Regalia, Royal Decorations and Coins in the precincts of the Grand Palace. While Rama I initiated this ritual for the hot season and the rainy season, Rama III introduced the ritual for the winter season. The robes, which the image adorns, represents that of monks and King's depending on the season, a clear indication of highlighting its symbolic role "as Buddha and the King", which role is also enjoined on the Thai King who formally dresses the Emerald Buddha image.

A ceremony that is observed in the wat is the Chakri Day (begun on April 6, 1782), a national holiday to honour founding of the Chakri dynasty. On this day, the king attends the ceremony. The present king Rama IX, with his Queen, and entourage of the royal family, the Prime Minister, officials in the Ministry of Defence, and other government departments, first offer prayers at the Emerald Buddha temple. This is followed by visit to the pantheon to pay homage to the images of past Chakri rulers that are installed there.

The coronation ceremony, which marks the crowning of the king, is an important event of the Chakri dynasty. One such recent event took place when the present Rama IX was crowned the King. On this occasion, the King came to the Chapel Royal- the Wat Phra Keo – in a procession wearing a 'Great Crown'. After entering the chapel, the king made offerings of gold and silver flowers to the deity and also lighted candles. He also paid homage to the images of Buddha that represented the past kings of the dynasty. In the presence of assembled elite clergy of the kingdom, he took a formal vow of his religion and his steadfastness to 'Defend the Faith'.

RULES OF ENTRY AND CONDUCT

The sacred temples in Thailand follow a dress code, which is strictly followed. Men must wear long pants and sleeved shirts and shoes; women must wear long skirts. Visitors who arrive dressed otherwise may rent appropriate clothing items at the entry area of the temple. It is compulsory to remove the shoes before entering the temple, as a sign of respect of the Buddha, as is the practice in all other temples in Thailand. While offering prayers before the Buddha image, the sitting posture should avoid any offensive stretching of feet towards the deity; the feet should be tucked in towards the back.

OTHER MONUMENTS

While the surrounding portico of the shrine is an example of Thai craftsmanship, the perimeter of the temple complex has 12 open pavilions. These were built during the reign of Rama I. There is plethora of monuments in the temple complex. These are:Grand PalaceThe former residence of the King, the Grand Palace, adjoins the temple. The King makes use of this Grand Palace for ceremonial functions such as the Coronation Day. The King’s present residence is to the north of this Grand Palace and is known as the Chitlada Palace. The four structures surrounding the temple have history of their own. At the eastern end is the Borombhiman Hall (built in French architectural design), which was the residence of King Rama VI, now used as guest house for visiting foreign dignitaries. It has the dubious distinction of having been used as the operational headquarters and residence of General Chitpatima who attempted a coup, in 1981. The building to the west is the Amarindra hall, earlier a hall of Justice, now used for formal ceremonies. The Chakri Mahaprasat is the largest hall in the Grand Palace, built in 1882 by British architects, the architecture of which is fusion of Italian renaissance and Traditional Thai architecture. This style is called farang sai chada, (meaning: "Westerner wearing a Thai crown") as each wing has a shrine (mandap) crowned by a spire. Ashes of the Chakri kings (five ancestors) are enshrined in the largest of these shrines, also known as the pantheons, that were rebuilt after a fire in 1903 during Rama IV's reign. Ashes of the Chakri princess who could not become kings are enshrined in an adjoining hall. The throne room and the reception hall are on the first floor, while the ground floor houses a collection of weapons. The inner palace had the King’s harem (the practice was discontinued during King Rama VI's time who decreed the one wife rule), which was guarded by well trained female guards. Another hall in the palace is the 'Dusit hall' in Ratanokosin-style, which runs from east to west, which was initially an audience hall but now converted into a funerary hall for the Royal family. Royal family corpses are kept here for one year before they are cremated in a nearby field. There is also a garden which was laid during rama IV's reign. The garden depicts a "Thai mountain-and-woods-fable" mountain scenes where the coming of age ritual of shaving the topknot of the Prince is performed.PagodasThe temple grounds also depict three pagodas to its immediate north, which represent the changing centres of Buddhist influence. One such shrine to the west of the temple is the Phra Si Ratana Chedi, a 19th-century stupa built in Sri Lankan style enshrining ashes of the Buddha.Library

Rama I also built a library in Thai style, in the middle of the complex, known as the "Phra Mondop". The library houses an elegantly carved Ayutthaya-style mother-of-pearl doors, bookcases with the Tripitaka (sacred Buddhist manuscripts), human-and dragon-headed nagas (snakes), and images of Chakri kings.

During the 19th century, the Royal Pantheon was built in Khmer style to the east of the temple, which is kept open for only one day in year, in the month of October to commemorate the founding of the Chakri dynasty.

Model of Angkor WatThe temple complex also contains a model of Angkor Wat (the most sacred of all Cambodian shrines). In 1860, King Mongkut ordered his generals to lead 2,000 men to dismantle Angkor Wat and take it to Bangkok. Modern scholars suggested that the king wanted to show that Siam was still in control of Cambodia, as France was seeking to colonise Cambodia at that time. However, the king's order could not be fulfilled. A royal chronicle written by Lord Thiphakorawong (Kham Bunnag), then foreign minister, recorded that many Thai men fell ill after entering Cambodian wilderness. The chronicle also stated that forest-dwelling Khmer people ambushed the Thai army, killing many leading generals. King Mongkut then ordered the construction of the model within Wat Phra Kaew, instead of the real Angkor Wat that could not be brought to Bangkok. Mongkut died before he could see the model. Its construction was completed in the reign of his son, Chulalongkorn.Hermit statue

A hermit's bronze image, which is believed to have healing powers, is installed in a sala on the western side of the temple. It is near the entry gate. It is a black stone statue, considered a patron of medicine, before which relatives of the sick and infirm pay respects and make offerings of joss sticks, fruit, flowers, and candles.

EIGHT TOWERS

On the eastern side of the temple premises there are eight towers or prangs, each of a different colour. They were erected during the reign of Rama I and represent eight elements of Buddhism.

ELEPHANT STATUES

Statues of elephants, which symbolize independence and power, are seen all around the complex. As Thai kings fought wars mounted on elephants, it has become customary for parents to make their children circumambulate the elephant three times with the belief that that it would bring them strength. The head of an elephant statue is also rubbed for good luck; this act of the people is reflected in the smoothness of the surface of elephant statues here.

WIKIPEDIA

Happy Nowruz by 2ins mama

4

Haft-Seen (Persian: هفت‌سین‎) or the seven 'S's is a traditional table setting of Nowruz, the traditional Iranian spring celebration. Today the haft seen table includes seven specific items, all starting with the letter seen (س) in the Persian alphabet. Haft-Seen was originally called Haftchin (Haftĉin) derived from the words Chin (چین) and Haft (هفت) meaning "to place" seven (items). The table is set by placing the following items which symbolize Zoroastrian yazatas or divinities such as ātar and asmān.

The "Haft Chin" items are:

Mirror - symbolizing Sky

Apple - symbolizing Earth

Candles - symbolizing Fire

Golab - rose water symbolizing Water

Sabzeh - wheat, or barley sprouts symbolizing Plants

Goldfish - symbolizing Animals

Painted Eggs - symbolizing Humans and Fertility

The term and therefore the concept was changed due to the fact that the digraph Ch (چ) in the word Chin was replaced with the letter S (س) after the Arab attack of the old Persia in 600 century after Christ- and because the Arabian Caliphs did not have the sound Ch in their language, leading to the evolution of the word Haft Seen, which no longer symbolizes the 7 original divinities.

The Haft Seen items are:

Sabzeh - (Persian: سبزه‎)-wheat, barley, mung bean or lentil sprouts growing in a dish - symbolising rebirth

Samanu - (Persian: سمنو‎)-sweet pudding made from wheat germ - symbolising affluence

Senjed - (Persian: سنجد‎)-dried oleaster fruit - symbolising love

Sir - (Persian: سیر‎)- garlic - symbolising medicine

Sib - (Persian: سیب‎)- apples - symbolising beauty and health

Somāq - (Persian: سماق‎)sumac fruit - symbolising (the color of) sunrise

Serkeh - (Persian: سرکه‎) - vinegar - symbolising old-age and patience

A slightly less traditional Haft Seen may also include:

Sonbol - the fragrant hyacinth flower - symbolising the coming of spring

Sekkeh - coins - symbolising prosperity

Iranian pastries such as Baqlava ,

Tut[disambiguation needed ] - white berries, Nān-Noxodchi )

Ājil - dried nuts, berries and raisins

lit candles symbolising enlightenment and happiness

a mirror symbolising Truth, the reflection of the Real World

sekanjabin - a sweet mint syrup

decorated eggs, sometimes one for each member of the family symbolising fertility

a bowl with goldfish symbolising life, and the constellation of Pisces which the Sun is leaving[citation needed]

water with a bitter orange in it symbolising Earth "floating" in space

rose water, used to cleanse in Islam before prayer and is also heavily prevalent in Iranian cuisine

A flag of the country which the people celebrating are from as a form of patriotism.

A poetry book, such as the Shahnameh or the Divan of Hafiz, or a religious text such as the holy Quran or Avesta

Mary Boyce described a traditional Sharifabadi Zoroastrian New Years observance as including:[1]

Sabzeh - Sprouts from seven different kinds of seeds

clay figures, whitewashed (favorites being domestic animals, cows, donkeys, sheep, camel, nightingale, peacock, also household objects such as sugar-loaf, bowls, or a three-legged stool). These "bear witness to the triumphant works of creation."

a mirror

a low brazier full of fire

a lamp

sprays of cypress or pine

pomegranates

painted eggs

en.wikipedia.org/wiki/Haft-Sin

en.wikipedia.org/wiki/Nowruz

Redcliff Quay & What a Wind Up by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

PICT03 by Ingmar Spijkhoven

1

Model "Trailer Tr2b" is build with LEGO® in scale 1:17,5 and motorized using LEGO® Power Functions. It is not build after a specific brand or type of trailer. This build represents the well known typical US style tandem axle drop deck semi-trailer.

The trailer features: solid axle suspension on all axles, three sets of lights, king pin, remotely controlled landing gear and parking break and many details.

Also can you build it yourself. To do so you can buy the building instructions and check the inventory/parts lists!.

This specific trailer utilizes the same suspension system on both axles as used for the truck models. In order to connect and disconnect this semi-trailer to and from a semi-truck it has a landing gear installed. The landing gear is remotely operated and when lowered the parking break is enabled the same time. The so called king pin is the pin that actually connects to the truck's fifth wheel. It is also the pivoting point for the truck and trailer combination.

It has an all aluminum floor installed which is basically build using modified plates 8 x 8 "with grille. The overall width of the trailer is 18 studs, minus two tiles one on both sides leaves 16 studs for the floor itself. Divid this by two makes eight studs on each side. The studs of these plates make them "sticky", this to prevent the load from sliding and it could further more be used to attach loads. The trailer's total length and both main and upper deck had to be adjusted to the use of these 8 x 8 plates.

Finally the floor/deck is outlined with the decks frame which also holds the "winches" and retroreflective strips.

Blazing Saddles by Matthew Wells

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The Paddington within Rembrandt Gardens by Matthew Wells

Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below

No. 1: Love, Paddington X (Lulu Guinness) |

Hound Dog by Matthew Wells

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aNarvik-NSB-EMU-3 by tisdalem2001