specific photos on Flickr

2

A card used to hold slips of paper where the "list" can be rearranged repeatedly. Finished jobs are simply removed. The card can be colour coded, perhaps for context.

For a full description read my blog post on making a slip holder.

Also see the rest of the Slip Method set.

Babbling Brook by Rum Bucolic Ape

4 4

Scandale Beck, to be specific, just up from High Sweden Bridge. It is possibly the most photographed bridge in the Lake District as it is only a shortish stroll from Ambleside. I was on the photographic prowl, fisheye in hand, looking for something a little different.

Whilst not I'm not in love with it as a photo, this appeals as it shows two fun aspects of fisheye lenses. First, you can handhold down to very slow shutter speeds very easily - I think this was about 1/20th. Second, the depth of field is insane. I was about 3 inches from the water and it is sharp to the distant horizon.

I had the rare luxury of uninterrupted photography for about 30 minutes. The kids had discovered the endless joy of playing in shallow streams and were like pigs in straw. Spouse settled down on the grass for 40 winks. It only ended when eldest said her hands had gone numb from the cold water at which point I wept metaphorical tears of nostalgia.

I spent half my childhood in and around streams. About their age, I remember spending whiling away virtually entire weekends creating elaborate turf dams, throwing stones a propos of nothing and exploring river banks. Witnessing my kids discovering such innocent childhood pleasures for themselves was a deeply rewarding experience.

No. 15: Hero by Tom Deams by Matthew Wells

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

Specific Location Label by Random Retail

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Horseheads, NY. August 2017.

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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com

No. 14 - Goldiebear 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

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

Hullaballoon by Matthew Wells

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

Antique Rose looking down the Causeway by Matthew Wells

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

Visiting Midhurst, ON by antefixus21

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Masonic Tombstone - Bro. Reginald F. Garrett, beloved husband of Annie M. Moth (OES).

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

Order of the Eastern Star

General Grand Chapter logo

The Order of the Eastern Star is a Freemasonicappendant body open to both men and women. It was established in 1850 by lawyer and educator Rob Morris, a noted Freemason. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

History

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

Emblem and heroines

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

Officers

Officers representing the heroines of the order sit around the altar in the center of the chapter room.

Eastern Star meeting room

There are 18 main officers in a full chapter:

Worthy Matron – presiding officer

Worthy Patron – a Master Mason who provides general supervision

Associate Matron – assumes the duties of the Worthy Matron in the absence of that officer

Associate Patron – assumes the duties of the Worthy Patron in the absence of that officer

Secretary – takes care of all correspondence and minutes

Treasurer – takes care of monies of the Chapter

Conductress – Leads visitors and initiations.

Associate Conductress – Prepares candidates for initiation, assists the conductress with introductions and handles the ballot box.

Chaplain – leads the Chapter in prayer

Marshal – presents the Flag and leads in all ceremonies

Organist – provides music for the meetings

Adah – Shares the lesson of Duty of Obedience to the will of God

Ruth – Shares the lesson of Honor and Justice

Esther – Shares the lesson of Loyalty to Family and Friends

Martha – Shares the lesson of Faith and Trust in God and Everlasting Life

Electa – Shares the lesson of Charity and Hospitality

Warder – Sits next to the door inside the meeting room, to make sure those that enter the chapter room are members of the Order.

Sentinel – Sits next to the door outside the chapter room, to make sure those that wish to enter are members of the Order.

Traditionally, a woman who is elected Associate Conductress will be elected to Conductress the following year, then the next year Associate Matron, and then next year as Worthy Matron. A man elected Associate Patron will usually be elected Worthy Patron the following year. Usually the woman who is elected to become Associate Matron will let it be known who she wishes to be her Associate Patron, so the next year they will both go to the East together as Worthy Matron and Worthy Patron. There is no male counterpart to the Conductress and Associate Conductress. Only women are allowed to be Matrons, Conductresses, and the Star Points (Adah, Ruth, etc.) and only men can be Patrons.

Once a member has served a term as Worthy Matron or Worthy Patron, they may use the post-nominal letters, PM or PP respectively.

Headquarters

The International Temple in Washington, D.C.

Main article: International Temple

The General Grand Chapter headquarters, the International Temple, is located in the Dupont Circleneighborhood of Washington, D.C., in the former Perry Belmont Mansion. The mansion was built in 1909 for the purpose of entertaining the guests of Perry Belmont. This included Britain's Prince of Wales in 1919. General Grand Chapter purchased the building in 1935. The secretary of General Grand Chapter lives there while serving his or her term of office. The mansion features works of art from around the world, most of which were given as gifts from various international Eastern Star chapters.

Charities

The Order has a charitable foundation[5] and from 1986-2001 contributed $513,147 to Alzheimer's disease research, juvenile diabetes research, and juvenile asthma research. It also provides bursaries to students of theology and religious music, as well as other scholarships that differ by jurisdiction. In 2000 over $83,000 was donated. Many jurisdictions support a Masonic and/or Eastern Star retirement center or nursing home for older members; some homes are also open to the public. The Elizabeth Bentley OES Scholarship Fund was started in 1947.[6][7]

Eureka Masonic College, also known as The Little Red Schoolhouse, birthplace of the Order of the Eastern Star

Signage at the Order of the Eastern Star birthplace, the Little Red Schoolhouse

Notable members:

Clara Barton[8]

J. Howell Flournoy[9]

Eva McGown[10]

James Peyton Smith[11]

Lee Emmett Thomas[12]

Laura Ingalls Wilder[13]

H. L. Willis[14]

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

Iguana by Keith Kowalczykowski

These bright colored iguanas are specific to a particular island on the Galapagos. Other iguanas have evolved their color to match the vegetation and landscape of their particular island.

www.dawngrace.com by Bella Rose Tattoo Chicago

Blues man tattoo by Dawn Grace.

Please do not steal my photos. These pictures are here to represent my work as a professional tattoo artist, and most of these designs were drawn specifically for each client.

That said, i cannot email you pictures of my clients' custom work so that you can take it to another artist to have it done. It's not fair to the people who pay to get tattooed by me.

Tattooing is a personal decision, and should you decide to get tattooed, put thought into what you want and find an artist who is willing and able to draw and tattoo exactly what you desire.

Do not leave comments about my clients' bodies ("she's sexy" or "damn, she's fat ",or choice of subject matter. )

Such comments are annoying and will be deleted immediately.

Areli's Quinceanera, Sweet 15 celebration 8-15-15 Columbia County Fairgrounds, St. Helens Oregon by Janice Dressley

Quinceañera (pronounced: [kinseaˈɲeɾa]/[k̟ĩn̺s̺e̞äˈɲe̞ɾä]; feminine form of "fifteen-year-old"), also called fiesta de quince años, fiesta de quinceañera, quince años or simply quince, is a celebration of a girl's fifteenth birthday in parts of Latin America and elsewhere in communities of people from Latin America. This birthday is celebrated differently from any other as it marks the transition from childhood to young womanhood.[1] Latin myths and tradition tell about how girls were prepared to be married by the age of fifteen or become nuns. In the years prior to their fifteenth birthdays, girls were taught to cook, weave, and about child rearing by the elder women in their communities in preparation for their lives as married women.[2] The celebrations today vary significantly across countries; celebrations in some countries, for example, have taken on more religious overtones than in others.

In Brazil, a Portuguese-speaking country, the same celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. In the French Caribbean and French Guiana, it is called fête des quinze ans. It is comparable to the debutante formerly common amongst the upper-class in the United Kingdom and the United States.

for more:

en.wikipedia.org/wiki/Quincea%C3%B1era

Contents

[hide] 1 In specific countries 1.1 Argentina, Peru, Paraguay, Bolivia and Uruguay 1.1.1 Ceremony of the 15 Candles

1.2 Brazil

1.3 Cuba

1.4 Dominican Republic

1.5 Ecuador, Venezuela and Colombia

1.6 French Guiana and French Caribbean

1.7 Mexico

1.8 Traditions from other hispanic countries

2 Quinceañera's new tradition

3 See also

4 References

5 External links

In specific countries[edit]

Argentina, Peru, Paraguay, Bolivia and Uruguay[edit]

In Argentina, Peru, Paraguay, and Uruguay[citation needed] the celebration (which is never referred to as a quinceañera but as a fiesta de quince) begins with the arrival of the teenager accompanied by her father, the girl wearing an elaborate, elegant dress she has chosen according to her preferences in colors and style, but still maintaining with the traditional dress. The location, if indoors, commonly has its entrance specially adorned for the occasion. The father and daughter make their entry through this front-door entrance, while music plays and friends and relatives customarily give flowers (usually roses) to the father. After this, the ceremony of the waltz begins, in which the girl first dances with her father—or the father figure—who then passes her on to her friends and relatives. Normally, the ball is divided into segments between which various food dishes are served in order to allow the guests—who are usually close family members and friends—to mingle and enjoy the celebration. The following order of events represents a typical program:

1.Entrance, which is usually accompanied by slow songs

2.Waltz

3.Entree

4.First period of dancing

5.Main meal course

6.Second period of dancing

7.Dessert and video playback of the recorded birthday with her friends

8.15-candle ceremony (optional)

9.Third period of dancing

10.Toast, cake cutting, and a ritual where each female friend/relative pulls a ribbon out of a bunch. The ribbons all have charms on the ends except for one which has a ring.

11.Last period of dancing

Ceremony of the 15 Candles[edit]

In this ceremony, the birthday girl hands a candle to each of fifteen people she considers were most influential in her life during her fifteen years. It is often accompanied by a speech, usually dedicated to each of the people that are given candles. This ceremony is also known as the Tree of Life. The 15 candles symbolize the 15 years the girl has "left behind". Each of the candles represents a special memory, a moment shared with any person who is invited to join the ritual. This is to give gratitude to these 15 people she will tell how they helped her.

Brazil[edit]

In Brazil the celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. The following order of events represents a typical program:

1.Entrance

2.Mass (optional)

3.First period of dancing (usually to international music)

4.Ceremony with videos about the girl's life with friends' greeting

5.A dance with men from her family and one boy (either her boyfriend or her best friend)

6.Second period of dancing (usually to national music)

7.Cake cutting

8.Third period of dancing

Cuba[edit]

In Cuba, the party may include a choreographed group dance, in which 14 couples waltz around the quinceañera, who is accompanied by one of the main dancers, a boy of her choice, her boyfriend or friends of rights.[vague] The choreography often includes four or six dancers or escorts called experts, who are allowed to dance around the quinceañera. They are usually inexperienced dancers whose function is to highlight the central couple. The male dancers are also allowed to wear tuxedos in different colors.

Fifteenth birthday celebrations were very popular in Cuba until the late 1970s. This practice partly entered Cuba via Spain, but the greatest influence was the French.[citation needed] The wealthy families who could afford to rent expensive dining rooms in private clubs or hotels of four and five stars were the real precursors of quinceañeras, which they called quinces. These celebrations usually took place in the house of the girl or the more spacious house of a relative.

Dominican Republic[edit]

This celebration is very traditional and common. It begins with a Mass in the Catholic Church to receive the blessing of God and give thanks for another year of life. At the birthday party, the birthday girl makes her entrance to the place of the party accompanied by 14 additional pairs of guests, which together with the teenager's own are 15 pairs of people total. Usually, the quinceañera wears a bright color dress. Ladies wear long dresses and gentlemen wear suits and ties, which are often brightly colored, but never to overshadow the birthday girl's dress, which is the focal point of the celebration. Almost immediately the quinceañera birthday girl dances the waltz with her partner who usually waltzes in the middle and passes her to the hands of her father to finish the waltz.

It is customary for the quinceañera girl and her escorts to perform several choreographed dances, which may include rhythms like merengue, pop, or salsa. A buffet and drinks are usually served. As the party favors or memories are given to the guests, an album is signed by invited guests to record their presence at the party. One of the main attractions in the Dominican Republic is the traditional cake of fifteen years, which is usually of immense size and beauty, decorated with colorful designs. The cake is cut shortly after the dancing. Traditionally an artist or band participates in the celebration to bring it to life and give a musical touch.

A Nicaraguan girl celebrating her quince años. In Nicaragua, only the girl, and never the celebration itself, is referred to as quinceañera.

Ecuador, Venezuela and Colombia[edit]

In Ecuador, the quince starts with the arrival of the teenager, accompanied by her father, who is then received by her mother and other relatives and friends. Then father and daughter dance a waltz and other tunes.[3] The quinceañera birthday girl will dance with her brothers (if any) and their uncles and godparents. Then she performs the paso doble and the waltz with all members of the procession (then optional dances to other music, such as merengue or pop). For this occasion the teenager wears an evening dress in light colors or pastels, is dressed and made up slightly, and usually places a tiara in her hair and jewels on her neck and hands. All the guests dress in formal attire, including the teenager's peers.

After the original dance, the choreography begins with a setup by the teenager and her friends. After that, the festival begins with music from live bands, some famous artists, DJs, food, drink, and at one late point of the night a "crazy hour" is carried out, in which the attendants wear masks or funny wigs and make noise with whistles and rattles while fast-tempo music is played. It is optional to make some surprise dance performed by the quinceañera birthday girl (alone or accompanied), and also a dance that will give away her friends, cousins, and others. [4]

French Guiana and French Caribbean[edit]

In French Guiana and the French Caribbean the celebration is known as fête des quinze ans.

Mexico[edit]

File:Mexican Quinceanera.theora.ogvPlay media

A Mexican quinceañera celebration

Quinceañera with "chambelanes"

In Mexico the quinceañera is adorned with elegant jewelry and makeup. Traditionally, this would be the first time she would wear makeup, but this is no longer the case. The quinceañera is also expected to wear a formal evening dress, traditionally a long, elegant ball gown chosen by the girl and most often, her mother, according to her color and style of favor.[5]

In the Mexican tradition, when the teenager is Catholic, the quinceañera celebration begins with a thanksgiving mass.[5] She arrives at the celebration accompanied by her parents, godparents and court of honor. The court of honor is a group of her chosen peers consisting of paired-off girls and boys, respectively known as damas (dames) and chambelanes (chamberlains). Typically, the court consists of pairs ranging from seven to fifthteen damas and chambelanes. At this religious mass, a rosary, or sometimes a necklace with a locket or pendant depicting Mexico's patron saint, the Virgin of Guadalupe, is presented to the teenager by her godparents, the necklace having been previously blessed by the church clergy. She is also awarded a tiara, which serves as a reminder that to her loved ones, especially her immediate family, the quinceañera will always be a princess. Some also see it as denoting that she is a "princess" before God and the world. After this, the girl may leave her bouquet of flowers on the altar for the Virgin Mary.[5]

After the thanksgiving mass, guests gather for a reception where the remaining celebratory events meant to honor the quinceañera will take place, including the rendering of gifts. This reception may be held at the quinceañera's home, at venues (such as dining halls, banquet halls, or casinos), or in some cases, in more public places, similar to a block party. During the reception, the birthday girl usually dances a traditional waltz with her father to a song chosen by both that speaks about the occasion and their relationship. Then her father passes her over to the "chambelán de honor", who is her chosen escort, and afterwards continues the dance with the rest of her court of honor.[5] Often this section of the celebration is previously practiced and/or choreographed, often weeks in advance, sometimes even with months of anticipation.[5] The basic reception consists of six major parts[6] with dances taking place while a traditional Mexican meal is served:

1.The formal entry - A grand entrance made by the Quinceañera once most guests have been seated.

2.The formal toast - An optional but usually featured part of the reception, generally initiated by the parents or godparents of the birthday girl.

3.The first dance - Usually a waltz where the girl dances, starting with her father.

4.The family dance - Usually a waltz involving just the immediate relatives, the "chambelanes", godparents and the closest friends of the girl.

5.The preferred song - Any modern song particularly enjoyed by the Quinceañera is played and danced.

6.The general dance - Also usually a waltz, where everyone dances to a musical waltz tune.

Traditionally, Mexican girls could not dance in public until they turned fifteen, except at school dances or at family events. So the waltz with her "chambelanes" is choreographed and elaborate to celebrate what was meant to be the quinceañera's first public dance.

Some families may choose to add a ceremonial components to the celebration, depending on local customs. Among them are the ceremony of the Change of Shoes, in which a family member presents the quinceañera with her first pair of high heel shoes; the Crowning ceremony, in which a close relative vests her with a crown on her head; and ceremonia de la ultima muñeca (literally "ceremony of the last doll"), during which her father presents her with a doll usually wearing a dress similar to the quinceañera herself. The ceremony of the last doll is based on a Maya tradition and is related to the birthday girl's receipt and renouncement of the doll as she grows into womanhood. Likewise, the ceremony of the change of shoes symbolizes the girl's maturity.[5]

Once all symbolic gestures have taken place, the dinner is commenced. At this point, the celebration reaches its peak; contracted musical groups begin playing music, keeping the guests entertained. The music is played while the guests dine, chat, mingle, and dance. The next morning the family and closest friends may also attend a special breakfast, especially if they are staying with the family. Sometimes what is known as a recalentado (re-warming) takes place in which any food not consumed during the event of the night before is warmed again for a brunch type event.[7]

Traditions from other hispanic countries[edit]

Another tradition[where?] is to have 14 ladies (sometimes 7), and 14 escorts (sometimes 7) as a court.[citation needed] The escorts hold flowers (usually roses) and the ladies carry candles. As the quinceañera dances the waltz with her father she blows out one candle, then picks up one rose. This continues until all candles have been blown out and all roses have been picked up. The 14 candles blown out represent her 14 years of age. When the time comes to cut the cake the quinceañera will blow out her last candle thus completing her 15 wishes. The flowers are given to her mother. An English quinceañera waltz song especially made for the father and daughter dance is "Sure As The Wind" - www.youtube.com/watch?v=Yw520MtDw28 .

Quinceañera's new tradition[edit]

Nowadays, many young girls create their own Quinceañera celebrations. Whereas traditional dresses were formal and usually white or pink only, dress designs are now more detailed.[8] Also, instead of having the traditional seven damas and seven chambelanes, the Quinceañera now also has the choice to pick all damas or all chambelanes. Traditionally, girls were not allowed to dance in public until turning fifteen, but this taboo has also receded significantly. The ceremony of the Changing of the Shoes has also been modified. Instead of wearing slippers before ceremonially exchanging them for high heels, a girl may decide to wear shoes compatible with the color and style of her dress instead of donning the traditional slippers.

Kerrville-Schreiner State Park SP.58.1 by Texas State Archives

Title: Master Plan

Specific Date: 8/28/1936

Architect: Roesle, P.R., draftsman

Remarks: Black ink on waxed linen showing master plan, including park area with boundaries, Guadalupe River, proposed dam, limits of impounded water, park roads, recreational area, pump house, caretaker's residence, service group, proposed camp ground, ...

Dimensions: LN: 36.50" x WD: 24.00"

Prohibido cantar / No Singing. Jordi Colomer by Matadero Madrid

JORDI COLOMER

Prohibido Cantar / No Singing. Obra didáctica sobre la fundación de una ciudad paradisíaca.

Desde el 14 de septiembre

Precio: Entrada libre

Institución:

Abierto x Obras

Jordi Colomer es el encargado de esta nueva creación site specific en la antigua cámara frigorífica de Matadero. La obra de Colomer explora una singular visión de la escultura incorporando dispositivos escénicos, fotografía y videoinstalación.

En Prohibido cantar / No Singing unos pocos personajes plantan un garito donde se ofrecen juegos de entretenimiento, trucos, amor y comida a bajo precio. La acción transcurre cerca de un camino polvoriento, en los mismos solares en los que hace un tiempo se proyectó una gran ciudad privada, con 32 casinos, llamada Gran Escala, que debía atraer a 25 millones de visitantes, pero que nunca vió la luz. Las imágenes que presentamos (en 7 pantallas) muestran cómo prospera la ciudad de Eurofarlete, bajo un sol inclemente y el cierzo soplando. Están compuestas de fragmentos de lo que allí sucedió durante dos días, y quizás ayuden a discernir una singular forma de organización por la supervivencia, donde todo está en venta, a precio de ganga y también a cualquier precio".

Jordi Colomer

BIOGRAFÍA

Jordi Colomer (1962) nació en Barcelona, ciudad en la que estudió Arte en EINA, Historia del Arte en la Universidad Autónoma y Arquitectura en la ETSAB. Vive y trabaja entre Barcelona y París.

Desde sus inicios el trabajo de Jordi Colomer ha ido incorporando a una singular visión de la escultura elementos de los dispositivos escénicos. Desde 1997 ha privilegiado el uso de la fotografía y la video-instalación. Sus primeros vídeos tomaban forma de micro-narraciones de raíz beckettiana, en los que los habitantes se debaten con objetos, decorados y espacios artificiales. En un segundo período estos personajes recorren la calle y el desierto con gestos y derivas que - (no exentos de cierto humor absurdo) - contagian un marcado espíritu crítico. Las obras de Colomer exploran las posibilidades de supervivencia poética que ofrece la urbe contemporánea. Así surgen obras como Anarchitekton (2002-2004), proyecto itinerante a través de cuatro ciudades (Barcelona, Bucarest, Brasilia, Osaka), No? Future! (rodada en Le Havre, 2004), Arabian stars (Yemen, 2005), Cinecito (La Habana, 2006), En la Pampa (realizada en el desierto de Atacama, Chile, 2008), Avenida Ixtapaluca (houses for México, 2009), The Istanbul Map (Istanbul, 2010), o más recientemente la trilogía What will come (Nueva York, 2010-11) donde los propios habitantes escriben el guión con sus desplazamientos en la suburbia americana ; o el proyecto Crier sur les toits (gritar a los cuatro vientos, 2011) donde se propone utilizar las azoteas como un pedestal a escala urbana, instituyendo una fiesta mundial. y.

PROHIBIDO CANTAR / NO SINGING. JORDI COLOMER

(Didactic work on the foundation of a paradise city)

From 14 of september

to 09 of december

Price: Free

Institution:

Abierto x Obras

'It's easier getting gold out of men than from rivers'. Bertolt Brecht,

The Rise and Fall of the City of Mahagonny, 1927-30

The foundation of a city is not necessarily a heroic act. Everyday a new city begins to be built on water, concrete, sweat and money. Some are -almost- a pure idea. In his election manifesto president Juscelino Kubitschek promised the creation of a modern capital for Brazil in three years, Brasilia was built amongst the weeds of the high central plane, faithfully following the plans of Lucio Costa. At the same time the builders, who came on foot from all parts of the country, pitched their trembling huts where they slept and founded– without knowing it- their own city.

There are glass cities that grow out of offices and others made from tin and card that dance to the rhythm of their own inhabitants. On one occasion, a group of outlaws were being tailed by the police, when their truck broke down in the middle of the desert. They couldn't keep going or turn back. So they ended up founding a paradise city, the golden city, where the worst crime was not to have any money. That city was called Mahagonny and Bertolt Brecht envisioned it at the time when Las Vegas came about shaping the image of the city that we recognise today.

In Prohibido cantar / No Singing a few characters make a gambling den where they offer entertainment games, tricks, love and food at low prices. The action takes place close to a dusty road, on the same plot of land and during the time in which a great private city was planned, with 32 casinos, called Gran Escala, which was to attract 25 million visitors, and yet never saw the light of day. These images reveal how the city of Eurofarlete thrives, under a blazing sun and strong blowing winds. Fragments of what passed there over two days may help to discern the particular form of organisation needed for survival, where everything is on sale at a bargain price or indeed at any price.

Jordi Colomer (Barcelona, 1962) His work explores the possibility of poetic survival that is offered by the contemporary metropolis through a unique vision of sculpture incorporating scenic devices, photography and video installation. Prohibido Cantar / No Singing returns to investigate the tension between project and fiction and creates a hybrid space, on both a physical and mental plane. He has been educated in art, art history and architecture, among his latest solo shows are l'Avenir in the Palais de Beaux Arts (Brussels), What will come in the Argos Centre for Art and Media (Brussels), Co Op City at the Bronx Museum of the Arts (New York), Fuegogratis in the Laboratorio Arte Alameda (México D.F.), La Panera (Lleida) and Galerie du Jeu de Paume (Paris).

No. 7: Poetry in Motion by Joanna Lumley OBE by Matthew Wells

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A Grand Day Out by Matthew Wells

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A Mandrill's Best Friend & Bristol Zoological Gardens by Matthew Wells

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Thailand - Bangkok - Wat Phra Kaeo - 02 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

IMG_0788 Gateshead Tram No. 10, in British Railways Livery by SomeBlokeTakingPhotos

3

Great Northern Steam Fair 2015, Beamish Museum

Beamish - The Living Museum of the North

Beamish, the North of England Open Air Museum is an open-air museum located at Beamish, near the town of Stanley, County Durham, England. The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century.

Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution in 1825. On its 300 acres (120 ha) estate it utilises a mixture of translocated, original and replica buildings; a huge collection of artefacts, working vehicles and equipment; as well as livestock and costumed interpreters.

No. 34: Doodles by Simon Tofield by Matthew Wells

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No. 17: Groscar by Chris Taylor by Matthew Wells

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Collection of PUBG items by ☆Woshinishushu ☆

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

Southern Afghanistan coalition forces by Canadian Army | Armée canadienne

4

Panjwa’i District, Afghanistan Specific 02 June 2011

Southern Afghanistan coalition forces

Corporal D’Amour, Combat Engineer and members of “Lucky 13” Platoon, A-Company, 1st Battalion, Royal 22e Régiment, provide security during Operation OMID ATAL 09 (Hope and Victory).

This operation saw the Afghan National Army’s 1st Brigade of the 205th (Hero) Corps, under the command of BGen Ahmed Habibi, take a leadership role and partner with Task Force Kandahar, under the command of BGen Dean Milner, to conduct security operations throughout Panjwa’i and Dand districts of Kandahar Province.

Task Force Kandahar will continue robust security operations in conjunction with the Government of the Islamic Republic of Afghanistan, Afghan National Security Forces, and its coalition and civilian partners in order to eliminate insurgent violence and set the conditions for successful and sustainable governance, development and peace in southern Afghanistan.

Canadian Forces Image Number AR2011-0200-43

By Cpl Tina Gillies with Roto 10, Task Force Kandahar, Afghanistan

_____________________________Traduction

District de Panjwa’i, Afghanistan, 3 juin 2011

Le Caporal D’Amour, qui fait partie du génie de combat et qui est membre du peloton « Lucky 13 » de la compagnie A du 1er Bataillon, Royal 22e Régiment, assure la sécurité lors de l’opération Omid Atal 09 (Espoir et victoire).

Cette opération était sous le contrôle de la 1re Brigade du 205e Corps (Héros) de l’Armée nationale afghane, commandée par le Bgén Ahmed Habibi. En collaboration avec la Force opérationnelle Kandahar, sous le commandement du Bgén Dean Milner, les deux partenaires effectuaient des opérations de sécurité dans les districts de Panjwa’i et de Dand, dans la province de Kandahar.

La Force opérationnelle Kandahar continuera de participer à ces opérations énergiques de sécurité avec le Gouvernement de la République islamique d'Afghanistan, les Forces de sécurité nationale afghanes et les partenaires civils et de la coalition qui visent l’élimination des actes de violence des insurgés et à établir avec succès les conditions propices à une gouvernance stable, au développement et à la paix dans le sud de l’Afghanistan.

Image des Forces canadiennes numéro AR2011-0200-43

Par le Cpl Tina Gillies avec Force opérationnelle interarmées

Thailand - Bangkok - Wat Phra Kaeo - 91 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

Water tapes (Kombissiri/Burkina Faso) by Antequerra

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This installation includes 16 specific connections at a single point. Considered disadvantageous and challenging to maintain, this device has disappeared in favour of public drinking fountains where pricing depends on the type of container filled. The extension of water supply networks has also encouraged installing individual connections directly in homes.

Cette installation comprend 16 branchements particuliers en un seul point. Jugé désavantageux et difficile d'entretien, ce type de dispositif a disparu au profit des bornes fontaines publiques ou la tarification dépend du type de récipient rempli. L'extension des réseaux d'adduction a également favorisé l'installation de branchements individuels directement dans les domiciles.

Gromit Unleashed: NewFoundLand by Matthew Wells

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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

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

_DSC9210 by Hans Jan Dürr

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Riff, PD#18245, a land art monument celebrating 100 years of the Zuiderzee Act

A collaboration of artist Bob Gramsma and engineer WaltGalmarini AG

Riff, PD#18245 is a site-specific work, a Land Art monument. The tectonic work looks like it is emerging from the natural-cultural landscape and, at the same time, helps to frame it. A mound of soil was heaped up on a foundation of slanted pillars. Large cavities were dug into the mound and then cast in concrete, thus creating an inverted sculptural reproduction of the void in the mound. Afterwards, the mound was removed, and the concrete sculpture cleaned of loose soil and sand. The result is a large-scale work, supported by three stalactite-shaped concrete volumes and the pillars of the foundation, which are partially visible. The monument is in context with the horizon, the landscape and the sunset. A stairway leads up to the top of the structure, inviting visitors to overview its surface.

The process of digging uses the labour of construction to create traces of landscape – space without architecture. The sculpture re-interprets the material and historical conditions of the site. The slightly slanted volume echoes characteristics of the Polder, like dikes, ditches, canals, plots, embankment, drainage, extraction, renaturation and depilution (vertical segregation). At the same time, Riff, PD#18245 also appears foreign in this environment – a hull resting on slanted pillars, aligned with the dikes. It is reminiscent of other interventions in this particular landscape: water management, flood protections, the signs of the transition from fishing to agriculture, and the renaturation of the landscape. It literally emerges from, and melds into, the artificial topography, the geology, the IJsselmeer polder and the Zuiderzee bed.

At the same time, Riff, PD#18245 is a trace of the artistic and the production process, outlining an interstice between the present and the past. The trace as an index of the working process creates a nexus between time and spatiality. The monumental blueprint of an excavation, which has long since disappeared, turns into a poetic sculpture, a hollow resonant body with a natural patina growing over time. Riff, PD#18245 looks southwest westward across the renatured land in the direction of the sunset and the amusement parks, providing a visual link to the Veluwemeer and the Flevopolder, the largest man-made island and its physical vastness.

Riff, PD#18245 becomes a space for the audience to project, or to reanimate, their understanding of the site, its history and its present. The sculpture is at once a tool to reflect on history and an incitement for the viewer to dream those stories. It is a way of visualizing both absence and presence, a sculpted ghost, or spirit, that opens up a new space for rethinking the relationship between material and memory. It is a residue of memory, honouring the past, while serving the present. By means of the elemental exposure of the earth, the missing cast, and the past that it encapsulates, we are reminded that earth and its history — as well as the cosmic forces or energies shaping it — are beyond human intelligibility. But we can try to understand, or appreciate, their unfathomable presence in time as we access this exhumed vestige.

Production

After creating a foundation by driving piles deep into the ground, a huge mound (70 x 40 x 7 m, 15.000 m3) was heaped up on top of it, consisting of sand and clay from the agricultural land and from the bottom of the Zuiderzee on the site. A wide sinkhole, reaching 2 m under sea level, and two narrow deep pits, reaching down to the level of the pillars, were dug into the mound. Reinforcement structures were built, and concrete poured and pneumatically projected into the cavities to produce an inverted sculptural reproduction of the empty space. After the concrete had dried, the heaped-up soil was bulldozed away and returned to build the new environment for the New Nature Programme. An immersive sculpture, whose platform hovers above the ground, is revealed. A small staircase cuts into the platform. The piece is approx. 37,5 m long, 13 m wide and 7 m high.

Using the local soil as false work, as well as formwork, and reusing it after the production for the new reserve is a very ecological, as well as economical, casting technique. It allows to produce an intricate seamless hollow concrete cast in one piece. After the structure was cleaned, it is ready for the public and the winds to take over. Within time, an ecosystem will evolve on the inside of the hollow body, and the surface will be partly covered with moss, chalk, and salt efflorescence. Little gaps in the shell enable insects and animals to build viable habitats inside the hollow body. The whole production process was open to the public to provide an in-depth vision and understanding in the making of Riff, PD#18245. The sculpture itself thus starts to generate memories in the minds of the audience – a process that will continue well into the future as weather and nature gradually take over the sculpture, altering its shape and functions over time, while the wind is playing on its resonant body.

Text: Martin Jaeggi

Collarfull by Matthew Wells

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No. 30: Malago by Dan Collings by Matthew Wells

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Where's Wallace? by Matthew Wells

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India - Tamil Nadu - Mamallapuram - Sea Mark - Giant Shoal Buoy by Manfred Sommer

. . . this specific buoy is meant to mark a wreck. The sign on top points north, so it has to be deposited north of the wreck. The other three required bouys - southern, eastern and western - have different signs on top - pointing south, east or west

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A sea mark, also seamark and navigation mark, is a form of aid to navigation and pilotage aid which identifies the approximate position of a maritime channel, hazard and administrative area to allow boats, ships and seaplanes to navigate safely.

THERE ARE THREE TYPES OF SEA MARK:

- beacons - fixed to the seabed

- buoys - consisting of a floating object that is usually anchored to a specific location on the bottom of the sea or to a submerged object

- A type of cairn built on a submerged rock/object, especially in calmer waters.

Sea marks are used to indicate channels, dangerous rocks or shoals, mooring positions, areas of speed limits, traffic separation schemes, submerged shipwrecks, and for a variety of other navigational purposes. Some are only intended to be visible in daylight (daymarks), others have some combination of lights, reflectors, bells, horns, whistles and radar reflectors to make them usable at night and in conditions of reduced visibility.

Marks are shown on nautical charts, using symbols that indicate their colour, shape and light characteristic, and are usually identified by name or number.

The International Association of Lighthouse Authorities defines one system of marks specifying the shapes, colours and characteristic lights of buoys depending on their purpose, the IALA Maritime Buoyage System. For historical reasons, there are two regions of lateral marks in use:

- IALA Region B in the Americas, the Philippines, South Korea and Japan

- IALA Region A everywhere else.

The two regions differ principally in the colours used to denote the two sides of a channel. When approaching a harbour from seaward, Region A places conical green marks to starboard and cylindrical red ones to port. In Region B these are replaced with conical red marks to starboard and cylindrical green ones to port. This can be remembered (for Region B) with the mnemonic "Red, right, return". Another Region B mnemonic, which also helps with buoy numbering is "Even Red Left Port" (as in Eric the Red) - Even Numbered buoys are red, on your left (port) side leaving port. In any case, since in many harbours it is not always apparent which direction is seaward, buoys should be used in connection with the appropriate nautical chart. Additionally, since marks may be off station due to collision with ships, storms or other factors, they should be used with caution and not relied on solely for navigation. The two regions are often referred to as two systems, which was the original intent. In 1980 it was decided however to combine these systems and distinguish between regions.

In a wider sense the phrase "sea mark" is often understood to include all kinds of landmarks, structures and devices that can be used to provide warning and guiding signs to mariners. Thus a sea mark can be and often is located on dry land. Examples of land-based sea marks are various signal lights and leading marks. The latter are mainly used to indicate the centerline of a fairway in narrow passages. Sea marks may also on occasion be used to help mark the boundaries of defensive sea minefields, or the safe lanes through same, especially during wartime.

TYPES

- Sea mark – aids pilotage by marking a maritime channel, hazard and administrative area to allow boats and ships to navigate safely. Some navigational buoys are fitted with a bell or gong, which sounds when waves move the buoy

- Lifebuoy – used as a life saving buoy designed to be thrown to a person in the water to provide buoyancy. Usually has a connecting line allowing the casualty to be pulled to the rescuer

- Submarine communication buoys – used for release in case of emergencies or for communication

- DAN buoy – has several meanings:

- A large maritime navigational aid providing a platform for light and radio beacons

- A lifebuoy with flags used on yachts and smaller pleasure craft

- A temporary marker buoy used during Danish seine fishing to mark the anchor position of a net.

- A temporary marker buoy set by danlayers during minesweeping operations to indicate the boundaries of swept paths, swept areas, known hazards, and other locations or reference points.

- A temporary marker buoy set to mark a man overboard position.

- Large Navigational Buoy (LNB or Lanby buoy) is an automatic buoy over 10m high equipped with a powerful light monitored electronically as a replacement for lightships.

- Sonobuoy – used by anti-submarine warfare aircraft to detect submarines by SONAR

- Surface marker buoy – taken on dives by scuba divers to mark their position underwater

- Decompression buoy – deployed by submerged scuba divers to mark their position underwater whilst doing decompression stops

- Shot buoy – used to mark dive sites for the boat safety cover of scuba divers so that the divers can descend to the dive site more easily in conditions of low visibility or tidal currents and more safely do decompression stops on their ascent.

- Safe water mark or Fairway Buoy – a navigational buoy which marks the entrance to a channel or a nearby landfall

- Emergency Wreck Buoys - Emergency Wreck Buoys provide a clear and unambiguous means of marking new wrecks. This buoy is used as a temporary response, typically for the first 24-72 hours. This buoy is coloured in an equal number of blue and yellow vertical stripes and is fitted with an alternating blue and yellow flashing light. This has come about due to the collisions which occurred in the Dover Straits in 2002 when vessels struck the new wreck of the Tricolour.

- lateral marker buoy

- Mooring buoys – used to keep one end of a mooring cable or chain on the water's surface so that ships or boats can tie on to it

- Tripping buoys – used to keep one end of a 'tripping line' on the water's surface so that a stuck anchor can more easily be freed

- Weather buoys – equipped to measure weather parameters such as air temperature, barometric pressure, wind speed and direction and to report these data via satellite radio links such as the purpose-built Argos System or commercial satellite phone networks to meteorological centres for use in forecasting and climate study. May be anchored (moored buoys) or allowed to drift (drifting buoys) in the open ocean currents. Position is calculated by the satellite.

- Tsunami buoys – anchored buoys that can detect sudden changes in undersea water pressure are used as part of tsunami warning systems in the Pacific Tsunami Warning Center and Indian Oceans.

- Spar buoy – a tall, thin buoy that floats upright in the water, e.g. R/P FLIP.

Profiling buoy – specialized models which adjust buoyancy so that they will sink at a controlled rate to 2,000 metres below the surface while measuring sea temperatures and salinity. After a time, typically 10 days, the buoy returns to the surface, transmits its data via satellite, and then sinks again. See Argo (oceanography).

- Ice marking buoys – used for marking ice holes in frozen lakes and rivers, so that snowmobiles do not drive over the holes.

- Marker buoys – used in naval warfare, particularly anti-submarine warfare, is a light-emitting or smoke-emitting, or both, marker using some kind of pyrotechnic to provide the flare and smoke. It is commonly a 76 mm diameter device about 500 mm long that is set off by contact with seawater and floats on the surface. Some markers extinguish after a set period and others are made to sink.

- Lobster trap buoys – brightly colored buoys used for the marking of lobster trap locations so the person lobster fishing can find their lobster traps. Each lobster fisherman has his or her own color markings or registration numbers so they know which ones are theirs. They are only allowed to haul their own traps and must display their buoy color or license number on their boat so law enforcement officials know what they should be hauling. The buoys are brightly colored with highly visible numbers so they can be seen under conditions when there is poor visibility like rain, fog, sea smoke, etc.

- Wave buoy – used to measure the movement of the water surface as a wave train. The wave train is analysed to determine statistics like the significant wave height and period, and wave direction.

- Target buoy – used to simulate target (like small boat) in live fire exercise by naval and coastal forces, usually targeted by weapons (medium size) like HMG's, rapid fire cannons (20 or so mm), autocannons (bigger ones up to 40 and 57mm) and also anti-tank rockets.

- Wreck buoy – a buoy to mark a wrecked ship to warn other ships to keep away because of unseen hazards.

- Self-locating datum marker buoy (SLDMB) – A 70% scale Coastal Ocean Dynamics Experiment (CODE)/Davis-style oceanographic surface drifter with drogue vanes between 30 and 100 cm deep. This particular surface drifter is designed specifically for deployment from a U.S. Coast Guard vessel or airframe for search and rescue. Since the SLDMB has a very small surface area above the ocean surface and a high underwater surface area, there is very little leeway in response to the direct forcing of winds and waves.

- The space buoy is a common element in science fiction that refers to a stationary object in outer space that provides navigation data or warnings about that particular area.

- Buoy racing is the most prevalent form of yacht racing

OTHER USES

- The word "buoyed" can also be used figuratively. For example, a person can buoy ('lift up') someone's spirits by providing help and empathy.

- George A. Stephen, founder of Weber-Stephen Products Co., invented the kettle grill by cutting a metal buoy in half and fashioning a dome shaped grill with a rounded lid.

WIKIPEDIA

Felix Gonzalez-Torres, Untitled (Fortune Cookie Corner), 1990 by Andrew Russeth

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Felix Gonzalez-Torres: Specific Object without Specific Form at WIELS, Brussels, through April 25, 2010

Trio of Friendship Cards by prospurring (Anne)

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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!

Venue Specific Training by Pauline~Glasgow

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Today at the Glasgow Club's Scotstoun Leisure Centre.

Prince Hall 157th. Grand Communication Most Worshipful Prince Hall Grand Lodge Free and Accepted Masons by antefixus21

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123rd Grand Communication Prince Hall Grand Chapter Order of the Eastern Star (PHA) met next door but visited briefly.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

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Order of the Eastern Star

General Grand Chapter logo

The Order of the Eastern Star is a Freemasonicappendant body open to both men and women. It was established in 1850 by lawyer and educator Rob Morris, a noted Freemason. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

Contents

HistoryEdit

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

Emblem and heroinesEdit

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

OfficersEdit

Officers representing the heroines of the order sit around the altar in the center of the chapter room.

Eastern Star meeting room

There are 18 main officers in a full chapter:

Worthy Matron – presiding officer

Worthy Patron – a Master Mason who provides general supervision

Associate Matron – assumes the duties of the Worthy Matron in the absence of that officer

Associate Patron – assumes the duties of the Worthy Patron in the absence of that officer

Secretary – takes care of all correspondence and minutes

Treasurer – takes care of monies of the Chapter

Conductress – Leads visitors and initiations.

Associate Conductress – Prepares candidates for initiation, assists the conductress with introductions and handles the ballot box.

Chaplain – leads the Chapter in prayer

Marshal – presents the Flag and leads in all ceremonies

Organist – provides music for the meetings

Adah – Shares the lesson of Duty of Obedience to the will of God

Ruth – Shares the lesson of Honor and Justice

Esther – Shares the lesson of Loyalty to Family and Friends

Martha – Shares the lesson of Faith and Trust in God and Everlasting Life

Electa – Shares the lesson of Charity and Hospitality

Warder – Sits next to the door inside the meeting room, to make sure those that enter the chapter room are members of the Order.

Sentinel – Sits next to the door outside the chapter room, to make sure those that wish to enter are members of the Order.

Traditionally, a woman who is elected Associate Conductress will be elected to Conductress the following year, then the next year Associate Matron, and then next year as Worthy Matron. A man elected Associate Patron will usually be elected Worthy Patron the following year. Usually the woman who is elected to become Associate Matron will let it be known who she wishes to be her Associate Patron, so the next year they will both go to the East together as Worthy Matron and Worthy Patron. There is no male counterpart to the Conductress and Associate Conductress. Only women are allowed to be Matrons, Conductresses, and the Star Points (Adah, Ruth, etc.) and only men can be Patrons.

Once a member has served a term as Worthy Matron or Worthy Patron, they may use the post-nominal letters, PM or PP respectively.

HeadquartersEdit

The International Temple in Washington, D.C.

Main article: International Temple

The General Grand Chapter headquarters, the International Temple, is located in the Dupont Circleneighborhood of Washington, D.C., in the former Perry Belmont Mansion. The mansion was built in 1909 for the purpose of entertaining the guests of Perry Belmont. This included Britain's Prince of Wales in 1919. General Grand Chapter purchased the building in 1935. The secretary of General Grand Chapter lives there while serving his or her term of office. The mansion features works of art from around the world, most of which were given as gifts from various international Eastern Star chapters.

CharitiesEdit

The Order has a charitable foundation[5] and from 1986-2001 contributed $513,147 to Alzheimer's disease research, juvenile diabetes research, and juvenile asthma research. It also provides bursaries to students of theology and religious music, as well as other scholarships that differ by jurisdiction. In 2000 over $83,000 was donated. Many jurisdictions support a Masonic and/or Eastern Star retirement center or nursing home for older members; some homes are also open to the public. The Elizabeth Bentley OES Scholarship Fund was started in 1947.[6][7]

Eureka Masonic College, also known as The Little Red Schoolhouse, birthplace of the Order of the Eastern Star

Signage at the Order of the Eastern Star birthplace, the Little Red Schoolhouse

Notable membersEdit

Clara Barton[8]

J. Howell Flournoy[9]

Eva McGown[10]

James Peyton Smith[11]

Lee Emmett Thomas[12]

Laura Ingalls Wilder[13]

H. L. Willis[14]

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