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For a full rundown on this specific car, please see the following link from Sotherbys:
rmsothebys.com/en/auctions/az17/arizona/lots/r194-1961-fe...
In summary, however, is that in the old days, Ferrari (man and company) obsessively built racing cars to win. The modest number of super-wealthy regularly sought out cars from Ferrari to drive on the road, with which he reluctantly complied.
Early on, these were barely different to the race cars, such as the 166, 212, and then 250 series. Once the 250 series was producing cars such as the 250 GT Lusso and GTE, the volumes were relatively high (in the hundreds), and so one could purchase a Ferrari by being merely very rich. For those clients who were more special, a series of low volume cars were still available, sold in single, or low double figures.
The 1961 400 Superamerica car shown here is a good example. Produced during the period of significant increase in Ferrari road car production, the 400 Superamerica Aerodinamico saw 17 cars produced.
The 400 saw a switch to the long-block Columbo V12 engine, as opposed to the Lampredi V12 seen in the preceding 410 Superamerica (which was rarer still). The last 410s visually linked the newer 400s, particularly the 'Superfast' cars.
Larger than it initially appears (and larger that 250/275/330 Ferraris of the period), this Lego model is a redo of an earlier attempt. Notable for the inclusion now of the large Technic piston engine.
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Specific date: 7/1940
Draftsman: Pressler, Paul E. Ink and pencil on tissue paper. Inks: black, red, orange. Pencil: blue, orange, yellow, lead. Plot plan, compass, schedule of roads, typical roads/cross sections. LN: 45.70 x WD: 34.48
In this article, we will talk about acne around the mouth: what is the cause of their appearance and how to get rid of them.
Why Should Acne Around the Mouth Be Treated Immediately?
As a rule, acne does not affect a specific area of the skin, but the entire face. But if pimples affect one specific area, then you should think about it.
After all, most often this occurs due to violations in the work of some internal organs or entire mechanisms of the body.
And acne around the mouth is a serious cosmetic problem. Often, they are very painful, but they take a long time. However, if you understand the cause, you can eliminate it, which means that you can get rid of acne.
It is worth immediately saying why such acne should be treated as soon as possible. Aesthetically, pimples in this area do not look very good. Of course, you can cover them with makeup. And here we talked about how to do it correctly. But this is not a complete solution to the problem. Therefore, it is necessary to eliminate the cause of rashes.
Acne Around the Mouth: Causes
If Your skin is still causing problems, it may be time to listen to what it has to say to us in this way. Acne around the mouth can have various causes. Oily skin, clogged pores, permanent acne or an outbreak of hormonal rashes are signals that something bad is happening to Your health.
First, you need to find out why acne appears in this place. Where they are located can tell you exactly why.
Which Organ Is Responsible for Them?
Acne in this area sometimes occurs for the same reasons as in other areas of the face. In other words, this includes non-compliance with hygiene rules, improper skin care, and violations in the work of internal organs.
But it is worth telling about this in more detail. You can learn more about this thanks to our map of acne on the face.
This map shows how acne in a certain area indicates a violation in the work of a certain organ. And if you look at it, it immediately becomes clear — the gastrointestinal tract is responsible for acne near the lips.
We can say that violations of its functioning in principle spoil the appearance of the skin. If the intestines are clogged, acne can cover any area of the face with small subcutaneous pimples.
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Is It Caused by Hormones?
Hormonal acne includes pustules, cysts, and subcutaneous cysts. The so-called “hormonal changes” are mainly located on the sides of the face, chin, upper neck, and even on the back of the neck or scalp. More often they affect women due to fluctuations in hormone levels. Approximately 60-70% of women experience acne exacerbation during the menstrual period. With the most noticeable changes around the mouth and chin.
Similar rashes can also occur after stopping the use of contraceptives. There is also a group of diseases in which impaired hormone metabolism is the main cause of acne.
A special form of hormonal acne is acne caused by the use of anabolic steroids for therapeutic purposes. And so-called acne from bodybuilding, which is caused by the use of anabolic steroids to increase muscle mass and improve physical condition. These are usually severe forms of acne. They leave unsightly scars, and their treatment is difficult and time-consuming.
Treatment of hormonal acne often requires the cooperation of a dermatologist, gynecologist, and endocrinologist. A thorough interview should be conducted regarding medications taken, regular menstrual cycles, and additional tests.
Causes that can be Eliminated Quickly
But it is worth understanding that external causes also affect the appearance of acne around the mouth. The area near it is especially often exposed to negative external influences. You can often smear your lips with all kinds of lipsticks and glosses. And they are very likely to get on the skin. As a result, acne appears around the mouth.
Also, the process of food consumption is not without sin. If you eat sloppily, some part of the sauce or broth will definitely fall on the area around the mouth. And even after wiping it with a napkin, the food particles will remain. And as a result, there will be pimples around the lips.
Therefore, after eating, it is recommended to wipe the area around the mouth with a wet cloth with an antibacterial effect. You can also wash your face completely. But in this case, there is a chance to dry skin.
• Touch your face with your hands. In particular, the area around the mouth;
• Eating wrong;
• Do not follow the rules of skin care;
Therefore, if you decide to finally clean your skin once and for all, you have come to the right place. Check what spots on your face mean and find out how to prevent them.
What Health Problems Do Pimples in This Area Indicate?
Imperfection of the face can appear at different stages of life. More and more adult women suffer from acne. They often believe that it is impossible to get rid of acne.
But it turns out that it is very important to be able to “read” everything on Your face. Chinese face reading has been practiced for thousands of years and allows you to detect and diagnose various diseases. Therefore, pimples in the area around the mouth and lips are a warning sign. Thus, learning Chinese will help you take the right measures to achieve a clear complexion.
“The face never lies” – this is the assumption of Chinese practice. The face is a mirror that reflects our health. Therefore, if you suffer from acne on the face, oily skin, wrinkles, lack of elasticity or hypersensitivity of the skin. This may mean that you are not properly caring for her or suffer from disorders in the functioning of the body.
Vitamins
Acne around the mouth can indicate a lack of b vitamins, so if they are your problem, try to include more whole grains, lean meat, and green leafy vegetables in your diet.
Season
We often blame the weather for dry, chapped lips, but in most cases the problem is diet, not wind or cold. It is worth paying attention to what we eat when the season changes. Then the body experiences so-called stomach stress.
Dehydration
Dehydration can be another cause of dry skin around the mouth and acne in this part of the face. Therefore, pay attention to the amount of water in your diet.
Pimples Around the Mouth: How Do I Get Rid of It?
First of all, let’s say that you need to eliminate the reason why you have these pimples. Therefore, before starting treatment, we recommend:
⦁ switch to proper nutrition. If you are not familiar with these principles, it is enough just to reduce the number of products that provoke the appearance of acne. We recommend that you read our list of prohibited products;
⦁ start wiping your mouth after eating. Many people forget about this, although it is banal hygiene;
⦁ to abandon the use of poor-quality cosmetics for lips. If the budget does not allow you to use more expensive lipsticks and glosses, then you should stop applying them at all. Health is still more expensive;
⦁ cease to apply balm on the lips, which this is not required.
In addition, it is recommended to start caring for your lips properly. Otherwise, many micro-cracks may appear on their surface, which are easily clogged with bacteria. As a result, pimples may also appear. Therefore, it is necessary to protect the delicate skin of the lips from the negative influence of the environment.
How to Cure These Pimples?
And only then can you proceed to treatment. But you should understand that if none of these methods will give a long-term result, then you need to contact a specialist. This will mean that the appearance of acne in the area around the mouth is caused by skin diseases that should be treated by a doctor. If You do not know which specialist to contact, we recommend reading this article. In it, we talked in detail about who is still able to help cope with acne-a cosmetologist or dermatologist.
And at home, to get rid of acne around the mouth and around the lips is possible by such methods:
Benzyl Peroxide. This is a substance that affects the bacteria that cause acne – Propionibacterium acnes and Malassezia. Drugs containing benzoyl peroxide are used for mild forms of acne. Benzoyl peroxide has both keratolytic and bactericidal effects, killing P. acnes. Benzoyl peroxide does not cause bacterial resistance. But its frequent use causes skin drying, local irritation and redness. You can also use triclosan, but it is less effective.
Apply this product to pimples point-by-point. It dries blackheads and disinfects damaged skin.
We recommend making ice cubes from a decoction of chamomile or calendula, and wipe the damaged area with them.
Unguentum Zinc. This is a very popular remedy for herpes, which can cope with ordinary pimples. But you need to use it very carefully, since the drug can greatly dry the skin when abused;
Steam bath. Steam baths push out dirt and bacteria, leaving the pores clean. We have already written about how to make steam baths correctly.
Of course, these are not the only methods to combat acne. However, they are the most popular and users consider them the most effective. In addition to their use, we recommend eliminating the root causes of acne around the mouth to avoid relapse.
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Sacrificing specific animal in specified days with the intention of pleasing Allah is called Qurbani (Ritual Slaughter) and sometimes the animal being sacrificed is termed as Ritual Slaughter. Ritual Slaughter is the Sunnah of Sayyiduna Ibrahim that has been retained for this Ummah and our Blessed Prophet (May Peace and blessing of Allah be upon him) was ordered to execute ritual slaughter. Allah has stated:
Translation: So offer the Salah for your Rab and execute the ritual slaughter. (Surah Kausar, Ayat-2, Parah-30)
(Bahar e Shariat, Vol-III, Page-327)
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
A specific tribute to my new followers in the UK. I know it's not the coaches that you normally share with us, but I hope you'll accept a night view of one of our light rail trains on the Canada Line, between YVR airport and Waterfront station in Vancouver.
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
*DESTROYED*
Hard to tell if the dog is dark blue or black, even looking at the nose and eyes doesn't help in this photo. This male American Pit Bull Terrier is suffering from mange, either demodectic or scabies.
This dog has three days to be claimed by owner or a valid 501c3 rescue or it will be killed/euthanized as this Houston facility does not adopt pit bulls or pit bull mixes to the public.
Complain to countypets.com about their breed specific kiling.
...specific type of signal due to the signal box standing at the platform end. A 23 rumbles in with an evening rush hour commuter train (11/4/1974)
With the aging of the Grumman S-2 Tracker and the increasing effectiveness of Soviet submarines, the US Navy issued a requirement for a new carrier-based ASW aircraft. Lockheed won the contract, partnering with LTV to design carrier-specific equipment and Univac to design the ASW suite. The resulting S-3A Viking first flew in January 1972 and entered the fleet in February 1974.
While the S-2 had integrated the hunter-killer team concept into a single airframe, the S-3 went one step further by completely computerizing the sub-hunting process, integrating the entire sensor suite into one system. Flown by a crew of four, the S-3’s interior was so efficient that one aviation writer described it as the most compactly designed aircraft in history. The S-3A acquired a reputation for being a reliable, easy to fly aircraft, and spawned a number of variants, including the US-3A carrier-onboard delivery (COD) transport aircraft and the ES-3A Shadow Elint variant. A dedicated KS-3A tanker never went into production, but S-3s were increasingly equipped with buddy refuelling packs. When the KA-6D Intruder dedicated tanker was retired from the US Navy in the mid-1990s, the S-3 took over the role, though its relatively slow speed meant it could not accompany strikes into enemy territory.
Despite that, the S-3 has always had the capability to carry not only antisubmarine ordnance such as torpedoes and depth charges, but also bombs and later the AGM-84 Harpoon antiship missile and AGM-65 Maverick AGM. The S-3’s antiship capability was used in both Gulf Wars: in 1991, a S-3 sank an Iraqi attack boat with conventional bombs, while in 2003 a S-3 destroyed an Iraqi command post with a Maverick in Basra.
Beginning in 1991, the S-3As in service were modified to S-3B standard, with upgraded avionics and a new synthetic-aperature radar, giving the S-3B a significant ship-detection and SAR capability as well. Though the ES-3A was withdrawn from service in the mid-1990s, several S-3Bs were converted to littorial reconnaissance (Gray Wolf) and ground surveillance (Brown Boy) roles. With the reduction of submarine threats to the US Navy, the S-3 fleet was gradually retired; today, only a handful remain with Navy testing units.
This model represents a S-3A assigned to VS-38 ("Red Griffins") aboard the USS Ranger in the late 1980s. It is configured for the antishipping role, with an AGM-84 Harpoon on the port wing and three LAU-3 rocket pods on the starboard. The subdued overall gray camouflage had been adopted fleetwide by this time, making gaudy squadron colors a thing of the past. It is also displayed with the MAD boom extended.
Entitled A north-easterly aspect of Lyttelton from near the Oil Wharf, this is an image by a local photographer.
This photograph was stolen and published by Harcourts Group Ltd for the specific purpose of making a commercial profit or gain; namely, to promote sales of the Fitzroy Head residential subdivision.
In deliberate infringement of New Zealand’s Copyright Act, the photograph appeared in a double page advertisement of issue 506 of the Bluebook Canterbury magazine. It was also used on twelve pages of four separate web sites (one of which, Harcourts proclaim, receives more than half a million views each month).
In late 2008, Bryan John Thomson, CEO of the Riccarton, Christchurch based Harcourts Group was asked by the amateur photographer to address the matter of this theft of intellectual property. He responded with the assurance that "this matter will be addressed in the appropriate manner."
With no subsequent communication, Thomson's interpretation of an appropriate manner might appear to constitute ignoring a criminal offence punishable by substantial fines and a lengthy custodial sentence.
Perception IS NOT Reality is the title of Thomson's latest blog post. In view of the foregoing it could seem that the chief executive of the New Zealand’s largest real estate group's personal perception of legal responsibility may be overdue for a reality check.
Now an international conglomerate in an industry whose ethics are reputedly perceived by New Zealanders with less than favour, the Harcourts Group is currently part of the Leading Real Estate Companies of the World global network of nearly 700 real estate companies with 5,500 offices and 170,000 sales associates in 38 countries.
ADDENDUM
The theft of Intellectual Property breaches the Code of Ethics of the Real Estate Institute of New Zealand. In what might well be construed as an endorsement of the criminality of its members, the Institute has failed to respond to a formal complaint by the photographer.
Haleakala Crater hike on Haleakala Crater Hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carry-on duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additionally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro-photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro-photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsible water bag w/filter to refill water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbara hitting the islands the day before my trip. Fortunately Barbara down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Surprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstic but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
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) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Lucky little solid black male pup with offset white blaze on his face, listed as a "Lab mix" when other pups with his coloration and similar body conformation are listed as "pit bull terrier mix". This cute guy will be available for adoption as a "lab mix", when he would be killed after 3 days if labeled as a "pit bull mix".
Using breed ID like this makes BSL or breed specific legislation useless, as how one defines a specific breed or mix is based on how one interprets that single dog.
Visions of America: Amériques
Audio/Visual Performance conducted by Esa-pekka Salonen, performed by Los Angeles Philharmonic
6th of November, 2014
Walt Disney Concert Hall, Los Angeles
_
'The Los Angeles Philharmonic’s multimedia presentation of Edgard Varèse’s Amériques launched the new in/SIGHT series at Walt Disney Concert Hall,The presentation of Amériques is accompanied by the new Anadol site-specific architectural video installation, which was developed to illuminate and enhance the Varèse's composition and to activate the architecture of Walt Disney Concert Hall. The dynamic visual program created by Anadol uses custom-built algorithmic sound analysis to listen and respond to the music in real time, using architecture as a canvas and light as a material. Additionally, the movements of Salonen, as he conducts, will be captured by next generation Microsoft Kinect hardware and 3-D depth camera analysis to inform the visuals displayed. The result was a powerful and immersive experience for the audience that engaged their visual and auditory senses.'
Launching in/SIGHT – the LA Phil's groundbreaking series of concerts with video – this program embodies the vision of the New World as a place of unlimited artistic freedom. Amériques was the first musical piece that Varèse composed upon coming to New York and this project is fittingly the first site-specific audio-visual performance that I produce in the U.S. I approached this collaboration from the standpoint of a non-linear and ephemeral interaction between Salonen, Varèse, and me, and hope that I will be able to transform Varèse’s timeless musical fiction into an immersive visual medium through which a new kind of storytelling will occur. Rather than approaching this medium as a means of escape into some disembodied techno-utopian fantasy, this project sees itself as a means of return. It aims to facilitate a temporary release from our habitual
perceptions and culturally biased assumptions about being in the world, and to enable us, however momentarily, to perceive our own stories and the stories around us freshly.
In a recent interview with the Huffington Post, Anadol stated regarding this work, “Instead of creating a media screen, there will be a story inside the space. What happens if you add a video layer that speaks to the audience in a whole new experience? We're exploring the boundaries of what is real, what is physical, what is virtual…”
I would like to sincerely thank everyone who made this project possible. This project would never have been possible without the tremendous and generous support of Los Angeles Philharmonic, President and CEO Deborah Borda; Vice President of Artistic Planning Chad Smith; Artistic Administrator Meghan Martineau and Concert Operations Manager Taylor Saleeby. I would also like to thank for their open-handed support the University California, Los Angeles, Department of Media Arts’ faculty members, Microsoft Research, and Lili Cheng, Finally and specially I would like to thank Frank Gehry for his dreamful canvas and Esa-Pekka Salonen for his open-minded collaboration with me to discover “New Worlds.”
CREDITS
Video Artist: Refik Anadol
Artistic Management: Dave Hunt
Executive Producer: Efsun Erkilic
Senior Generative Designers: Sebastian Neitsch & Woeishi Lean
Senior 3D Designer: Raman K. Mustafa
Senior Animator: Simon Russell
Junior Animators: Bahadir Dagdelen, Michael Hsiu, Kian Khiaban, Toby Heinemann,
Laurence Menor.
Research Assistant: Jarad Solomon
Page 7
NOTE: The paragraph in brackets are those of the artist:
THE FIRST ARCH 1949–1951 Ages 17–18–19
Of all of the arches of VATICAN CORRIDOR, A Non-Specific
Autobiography, the events that occurred within this particular
arch are perhaps the most important in that they set indelibly
the direction of the life of the artist emotionally, intellectually,
and creatively. Prior to his seventeenth birthday, there were
many indications of who he was and of what he would
ultimately become. Like the majority of his peers, as a child
and as an adolescent he experienced the familiar problems,
joys, anger, frustration, sexual experimentation, familial
estrangement, and sibling rivalry commensurate with his age.
But he possessed an unbridled and unquenchable curiosity
about nearly everything he encountered and read. He made
toys and sculpted innumerable animals in clay. In high school,
he was an avid and accomplished student admired and praised
by his teachers and was socially adept with and honored by
his peers.
He proved a tenacious and talented art student in high
school. At age seventeen, he received from his art teacher,
Hazel Bartley, his first commission. The resultant INFANT
OF PRAGUE may be considered his first actual sculpture.
Using the coal-fired furnace to melt the copper required,
he cast the sculpture in the basement of his family home in
Toledo, Ohio, burning out the furnace in the process.
After graduation from high school, he left home to attend
Alfred University. In the Preparatory Study, he notes
"the necessity/decision/desire to “become;” 17. Leaving
home. The ‘who’ is very strong–young, vital, sexual,
beautiful, naive, fearless, boundless energy, a late emergence
from puberty. David? Theseus?"
With the exception of the INFANT OF PRAGUE, all
other actual work executed by him during that three year
period was the result of specific student assignments, only
rare examples of which have been photographed or are
otherwise recorded. They were purely experimental both of
ideas and materials and reflective of the “styles” and
metaphors of the time. Yet some of those experiments gave
hint of the artist he would become. In later life he spoke
of the period of the First Arch as an awaking from the
emotional and intellectual restraints imposed upon him by
his parents who only wished for him a “normal” life in
which he would use his education at Alfred University to
prepare him to enter a recognized trade, return to the family
fold, marry, reproduce and derive pleasure from playing the
piano and tennis. But his eyes were opening, his imagination
expanding, and the challenges ever more formidable and
freeing. He said: “Compared to the Jewish girls from New
York City, I was merely ignorant, unread, and inexperienced.”
The years at Alfred University proved invaluable
for it was there he recognized the impossibility of pursuing
a course antithetical to his emerging what. Numerous of his
student notebooks and essays have been preserved and these, more than anything else, indicate the formulation of the
ideas and concepts that have been subsequently analyzed and
developed and expanded by him during the decades thereafter. Some of the ideas in gestation during the years
seventeen through twenty, and even until the present, are
addressed by the then forty-two year old artist in the
contemplation of the creation of the First Arch:
[How does “whatness” occur? Does it begin to develop
simultaneously with the developing “who”? Is it created
because of or in spite of an initial flaw within the identity
of the “who”? I would like to believe that the inner-self, the
“what,” is born out of the “who’s” non-acceptance of the
doctrine of linear time–a non-acceptance of death—a desire
to create out of oneself a sphere whose inner walls reflect
the inner desire of all men regardless of time or space. This
would mean an acceptance of all man’s behavior. Nothing
would exist as external to the sphere—neither “good” nor
“evil”—one man=all men. Acceptance eliminates the
doctrine of linear time, and with it the theory of
oppositeness. Within the sphere, “good” or “bad” have no
meaning—neither do life or death; rather, there exists
synonymity, a relating and reflecting of oneself in terms and
degree of the evolving “what.” The possibility for the
creation of “whatness” exists in all men, but it seems such a
fragile and destructible thing. I believe that Everyman at one
point or another within the linear life-span of the “who” is
confronted by the initial choice for the creation of his
“whatness”—and because it is a choice, there are men who
choose not to create, but rather to remain within the
doctrine of linear time—within the theory of
oppositeness…to become historical artifacts stored within
the ever-changing metaphors of the absolute “who.” They
kill and are killed—an endless repetition of the murder of
their own “whatness.” These presences, too, must be
included in Vatican Corridor—but they will exist within the
spaces between the arches.
[If an initial moment of choice must be selected for the
creation of a second or non-linear self, perhaps that moment
would be when “who” one is detaches itself from what one
was in terms of the linear matrix? “Son of…” “Daughter
of…” etc. Because of this detachment and vulnerability of
the “who,” a choice is presented—a reinforcement of the
linear “who” through a posture of “I am me because I am
not you,” or a transposition of linear into spherical
“whatness:” One man=all men…“I am me because I am
you.” The inner wall of the First Arch must somehow carry
the significance of the initial choice—or rather, what it is
that confronts the “who” at the moment of initial
choice——: A blank? An undisturbed volume? A vision existing within a block? A kind of geometric “perfection”? A void? A vacant arch? Shadows of possibilities? A block barely opened or in the act of opening? A concave reflection of the outer-wall? A gestured void corresponding to the convex and volumetric “who”? Certain volumes to exist within the concavity as an indication of some sort of predetermined limitation upon
the “what” in reference to the influences imposed upon the
“who” in terms of the “who’s” linear “whatness”? A kind of
imposed pre-choice identity? In terms of non-specific
autobiography, could or would this imposition be sexual?
Should this indication of pre-choice identity take the form
of a brutalization through the arches until it, too, is
assimilated and accepted in terms of the evolving “what”?
[In this, the First Arch, there are no transpositions from
the outer to the inner walls. It is a statement more of “this is
the way it is” with only two elements specifically to be noted:
the arm of the figure in the outer wall is held back firmly by
the hand of restraint; the hand of the parents, society, the
church, anyone and everything that would disallow a
departure, an escape, from familiar and restrictive traditions,
perhaps. The other is the uncarved top of the head, clearly
indicating that the soon to begin emerging what already is in
possession of the one element that would make full transposition possible: whatness, the universality of Desire.]
At the conclusion of the preparatory study for the inner
wall of the First Arch, Robert Cremean wrote:
[Perhaps gestured outline of concave volumes should relate
to outer wall in terms of a more mature image—a reflection
of the outer wall’s vision rather than a mirrored duplication
of the actual “who” at the specific time of initial choice? The
gestured outline of the concave volumes would thus remain
static as a mature presence or receptacle throughout the series of arches. Would this mean then that the “what” exists as an established form—timeless and unchangeable—a constant
alternative to the mortality of the linear directed “who”?
Would this then also mean that choice is a constant possibility
for Everyman at any stage throughout the evolution of the
“who”? Then the choice for “whatness” is omnipresent? That
“whatness” by its very nature is omnipresent regardless of the
particularized “who”?
[The question of this “omnipresent” “whatness” persists
throughout the entire VATICAN CORRIDOR. For, if the
concept of “whatness” is present but not recognized and
embraced, which of the other transpositions are possible?
And if it is recognized but only partially understood and
accepted, is it possible to progress the full length of the
corridor or are we, as individuals sharing this “non-specific
autobiography,” ultimately locked into a particular “arch”
within this “corridor” of the self?]
The following is written in the Fourth Arch:
Within the evolution of the Inner Wall—the “what”—there
could exist an equation with the First Arch Outer Wall and
the Inner Wall of the Fourth Arch: An awareness of
“beyondness,” an expansion through exposure. The “what”
is very strong—young, vital, sensual, beautiful, naive,
fearless—boundless energy…
Remains of a specific medieval fortress, which was built into four basalt towers, which are the remains of an ancient volcano. It was a guard castle with a large tower, which stood high above the landscape with a great outlook at the delta of Elbe river, an important trade route at that time. The original wooden castle stood at least in the 11th Century, and was modified to a stone castle sometimes in the 12th Century. It was expanded in the late 14th Century, attacked in 1444 and damaged, improvized repairs have been done but in the next year another enemies burned the castle down and killed all the men defending it (they were buried under the castle in a mass grave, which is still there). The castle is mentioned as abandoned in 1515, but the buildings under the core were used until WW2. Most of the stone walls sacked down the hill, creating still visible debris fields, today the basalt towers are pretty well accessible, and it is possible to climb to the highest point and have a beautiful look around the landscape.
Photo citation: Ted Auch, FracTracker Alliance, 2021.
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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) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
En Silencio es una instalación site specific realizada por la artista brasileña Sandra Cinto y comisariada por David Barro para el programa Gran Escala de Matadero Madrid. Un programa que propone a una serie de artistas abordar un espacio de naturaleza industrial y grandes dimensiones, ahora resuelto por Sandra Cinto como un paisaje imaginario, íntimo y rotundo, aunque se estructure desde lo frágil. Si por un lado se reivindica el silencio en una sociedad invadida por el ruido, por otro esa tentativa, silenciada, individual, se resuelve expandida, rotunda, colectiva. La experiencia es física, pero sobre todo psíquica, mental.
El espacio abismal de Matadero se convierte ahora en una habitación dominada por una mesa donde Sandra Cinto, escenifica un sentimiento, el de la dificultad de la creación, de componer, de manifestarse. En Silencio hace que el tiempo se pare como cuando estamos ante una fotografía antigua. Como cuando la música no suena, la creación es un callejón sin salida, igual que cuando una escalera no conduce a ningún lugar o cuando los libros no se pueden abrir.
Sandra Cinto. Nacida en Santo André (Brasil) en 1968, Sandra Cinto vive y trabaja en São Paulo, donde codirige el espacio-taller de artistas Ateliê Fidalga. Además de las habituales muestras en las galerías que la representan, como Casa Triângulo en São Paulo y Tanya Bonakdar en Nueva York, ha realizado exposiciones individuales en el Museo de Arte Moderna de São Paulo, Seattle Art Museum, Instituto Tomie Ohtake o, actualmente, en el Centro Atlántico de Arte Moderno de las Palmas de Gran Canaria, así como colectivas como las celebradas en Museum of Contemporary Art de Miami, Museum of Contemporary Art de San Diego o el Centre Georges Pompidou. Seleccionada en importantes proyectos editoriales como Vitamin D (Phaidon), su obra se encuentra en colecciones como la Fundación ARCO, Centro Galego de Arte Contemporánea, Museo de Arte Moderna de São Paulo, Centro de Arte Contemporânea de Inhotim o The Philips Collection.
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New Hunting Opportunity - Increases to hunt types, number of days, or number of species to hunt:
Southwest Region (68A-15.061): Green Swamp West, Upper Hillsborough, Walk-in-the-Water,
North Central Region (68A-15.062): Andrews, Cypress Creek, Flying Eagle, Goethe, Gulf Hammock, Jennings Forest, Little River, Mallory Swamp, Potts, Steinhatchee Springs, Twin Rivers; (68A-17.005): Watermelon Pond
Northwest Region (68A-15.063): Apalachicola, Aucilla, Blackwater, Blackwater Hutton Unit, Box-R, Point Washington; (68A-17.005): Apalachicola River, L. Kirk Edwards
South Region (68A-15.064): Fisheating Creek
Northeast Region (68A-15.065): Buck Lake, Fort Drum, Lake Panasoffkee, Richloam, Seminole Ranch, Three Lakes Prairie Lakes Unit
Reduced Hunting Opportunity
Southwest Region (68A-15.061): Chassahowitzka
South Region (68A-15.064): Okaloacoochee Slough
self portariat with my camera on the floor.
Project Room
Barry McGee
Site-Specific Loft Installation
"Running concurrently with the group exhibition Do Not Stack, McGee takes over the project space, transforming the room’s physical relationship with the visitor into an interactive viewing. A distinctive cluster of McGee’s various paintings, works on paper and urban objects can be accessed by ascending through the floor of the utilitarian structure to the lofted space above."
- Roberts and Tilton Gallery
I spoke with the director of the gallery. He said that the gallery offered this 10' x 10' room to Barry McGee to do something with it for this exhibit. Barry asked, "Can I build a loft?" And they did. A real interesting space. MORE PHOTOS HERE
Miracle Mile, Los Angeles, CA
12/2006
The Rolls-Royce Silver Ghost name refers both to a car model and one specific car from that series.
Originally named the "40/50 h.p." the chassis was first made at Royce's Manchester works, with production moving to Derby in July 1908, and also, between 1921 and 1926, in Springfield, Massachusetts. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names, but the Silver Ghost title was taken up by the press, and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925, when the Phantom range was launched.
The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.
The chassis and engine were also used as the basis of a range of Rolls-Royce Armoured Cars.
HISTORY
In 1906, Rolls-Royce produced four chassis to be shown at the Olympia car show, two existing models, a four-cylinder 20 hp and a six-cylinder 30 hp, and two examples of a new car designated the 40/50 hp. The 40/50 hp was so new that the show cars were not fully finished, and examples were not provided to the press for testing until March 1907.
The car at first had a new side-valve, six-cylinder, 7036 cc engine (7428 cc from 1910) with the cylinders cast in two units of three cylinders each as opposed to the triple two-cylinder units on the earlier six. A three-speed transmission was fitted at first with four-speed units used from 1913. The seven-bearing crankshaft had full pressure lubrication, and the centre main bearing was made especially large to remove vibration, essentially splitting the engine into two three-cylinder units. Two spark plugs were fitted to each cylinder with, from 1921, a choice of magneto or coil ignition. The earliest cars had used a trembler coil to produce the spark with a magneto as an optional extra which soon became standard - the instruction was to start the engine on the trembler/battery and then switch to magneto. Continuous development allowed power output to be increased from 48 bhp (36 kW) at 1,250 rpm to 80 bhp (60 kW) at 2,250 rpm. Electric lighting became an option in 1914 and was standardised in 1919.[1] Electric starting was fitted from 1919 along with electric lights to replace the older ones that used acetylene or oil.
Development of the Silver Ghost was suspended during World War I, although the chassis and engine were supplied for use in Rolls-Royce Armoured Cars.
The chassis had rigid front and rear axles and leaf springs all round. Early cars only had brakes on the rear wheels operated by a hand lever, with a pedal-operated transmission brake acting on the propeller shaft. The footbrake system moved to drums on the rear axle in 1913. Four-wheel servo-assisted brakes became optional in 1923.
Despite these improvements the performance of the Silver Ghost's competitors had improved to the extent that its previous superiority had been eroded by the early 1920s. Sales declined from 742 in 1913 to 430 in 1922. The company decided to launch its replacement which was introduced in 1925 as the New Phantom. After this, older 40/50 models were called Silver Ghosts to avoid confusion.
A total of 7874 Silver Ghost cars were produced from 1907 to 1926, including 1701 from the American Springfield factory. Many of them still run today. A fine example is on display at the National Motor Museum, Beaulieu.
THE ALPINE EAGLES
A 40/50 was privately entered in the prestigious 1912 Austrian Alpine Trial by James Radley, but its 3-speed gearbox proved inadequate for the ascent of the Katschberg Pass. A factory team of four cars were prepared for the 1913 event with four-speed gearboxes, and engine power increased from 60 to 75 bhp (56 kW) by an increase in compression ratio and larger carburettor. The team gained six awards including the Archduke Leopold Cup. Replicas of the victorious cars were put into production and sold officially as Continental models, but they were called Alpine Eagles by chief test driver (and later Rolls-Royce Managing Director) Ernest Hives, and this is the name that they have kept.
THE SILVER GHOST
In 1907 Claude Johnson, Commercial and Managing Director of Rolls-Royce, ordered a car to be used as a demonstrator by the company. With chassis no. 60551 and registered AX 201, it was the 12th 40/50 hp to be made, and was painted in aluminium paint with silver-plated fittings. The car was named the "Silver Ghost" to emphasise its ghost-like quietness, and a plaque bearing this name adorned the bulkhead. An open-top Roi-des-Belges body by coachbuilder Barker was fitted, and the car readied for the Scottish reliability trials of 1907 and, immediately afterwards, another 24,000 km test which included driving between London and Glasgow 27 times.
The aim was to raise public awareness of the new company and to show the reliability and quietness of their new car. This was a risky idea: cars of this time were notoriously unreliable, and roads of the day could be horrendous. Nevertheless, the car set off on trials, and with press aboard, broke record upon record. Even after 11,000 km, the cost to service the car was a negligible £2 2s 7d (£2.13). The reputation of the 40/50, and Rolls-Royce, was established.
AX201 was sold in 1908 to a private customer, who used it for his annual vacation to Italy, and recovered by the company in 1948. Since then, it has been used as a publicity car and travelled worldwide. In 1989, the car was restored by SC Gordon Coachbuilders Luton, and P&A Wood, London, UK. It is now owned by Bentley Motors.
In 1984, the car was photographed in great detail whilst in storage in Luton by precision model makers Franklin Mint. This die-cast model went on to become one of their best-selling products.
The Silver Ghost is considered the most valuable car in the world; in 2005 its insured value was placed at US$35 million.
WIKIPEDIA
A Blanknut Hewlett Packard 41CX with a rare clear cased bar code reader. The bar code reader was used to read programs in the form of a bar code - this was seen as an advancement over the magnetic cards that were used in earlier HP models (the HP65 and HP67).
The HP41CX Blanknuts were made by HP to be customisable for a specific purpose - typically they were purchased by companies and programmed with their own programs. They have a very plain keyboard layout with only the numbers and alpha keys displayed, with no scientific keys shown at all.
This 41CX has a standard overlay over the keyboard - without it it's difficult to know what the keys are for.
Suba, bangkas
A bangka is a specific type of outrigger boat used in the Philippines. Outrigger boats are various watercraft featuring one or more lateral support floats known as outriggers, which are fastened to one or both sides of the main hull. In the Philippines, bangkas are typically equipped with outriggers on both sides of the main hull.
Unlike a single-hulled vessel, an outrigger or double-hull vessel generates stability as a result of the distance between its hulls rather than due to the shape of each individual hull. As such, the hulls of outrigger or double-hull boats are typically longer, narrower and more hydrodynamically efficient than those of single-hull vessels.
These vessels were the first true sea-going ships, and are an important part of the Austronesian heritage. They were the vessels that enabled the Austronesian Expansion from Taiwan into the islands of both the Indian and Pacific Ocean from around 3000 BC. They comprise the bulk of traditional boats in Island Southeast Asia, Island Melanesia, Micronesia, Polynesia, and Madagascar.
Cuyo Island is the largest island of the Cuyo Archipelago. The Cuyo Archipelago or Cuyo Islands, is a group of about 45 islands lying to the northeast of the island of Palawan, and part of the province of Palawan, Philippines. Altogether, over 45,000 people inhabit the Cuyo Archipelago. It is centered on the largest island of the archipelago, Cuyo Island, which is about 13 kilometres long, 7.5 kilometres wide, and with an area of 57 square kilometres. Cuyo Island is volcanic. It is under the jurisdiction of the municipalities of Cuyo and Magsaysay.
Cuyo is the oldest town in Palawan with a culture of its own, which was preserved for more than 350 years. During the Spanish colonisation of the Philippines, Cuyo became the second capital of Palawan from 1873 to 1903. Cuyo town and its cultural and natural environs are being considered to be nominated in the tentative list for UNESCO World Heritage Site declaration in the future. Dominating the town centre is Cuyo's church, convent, and fort built by the Spanish and finished in 1680.
(sources: en.wikipedia.org/wiki/Outrigger_boat and en.wikipedia.org/wiki/Cuyo_Archipelago)
The Rolls-Royce Silver Ghost refers both to a car model and to one specific car from that series.
Originally named the "40/50 h.p." the chassis was originally produced at Royce's Manchester works moving to Derby in July 1908 and between 1921 and 1926 at Springfield, Massachusetts factories. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names but the Silver Ghost title was taken up by the press and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925 when the Phantom range was launched.
The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.
In 1906, Rolls-Royce produced four chassis to be shown at the Olympia car show, two existing models, a four cylinder 20hp and a six cylinder 30hp, and two examples of a new car designated the 40/50 hp. The 40/50 hp was so new that the show cars were not fully finished and examples were not provided to the press for testing until March 1907.[2]
The car at first had a new side-valve, six-cylinder, 7036 cc engine (7428 cc from 1910) with the cylinders cast in two units of three cylinders each as opposed to the triple two cylinder units on the earlier six. A three speed transmission was fitted at first with four speed units used from 1913. The seven-bearing crankshaft had full pressure lubrication and the centre main bearing was made specially large to remove vibration, essentially splitting the engine into two three cylinder units. Two spark plugs were fitted to each cylinder with, from 1921, a choice of magneto or coil ignition. The earliest cars had used a trembler coil to produce the spark with a magneto as an optional extra which soon became standard - the instruction was to start the engine on the trembler/battery and then switch to magneto. Continuous development allowed power output to be increased from 48 bhp (36 kW) at 1,250 rpm to 80 bhp (60 kW) at 2,250 rpm. Electric lighting became an option in 1914 and was standardised in 1919. Electric starting was fitted from 1919 along with electric lights to replace the older ones that used acetylene or oil.
During World War I development of the Silver Ghost was suspended, but the chassis and engine were supplied for use in a range of Rolls-Royce Armoured Cars.
The substantial chassis had rigid front and rear axles and leaf springs all round. Early cars only had brakes on the rear wheels operated by a hand lever with a pedal operated transmission brake acting on the propeller shaft. The footbrake system moved to drums on the rear axle in 1913, but from 1923, four-wheel, servo-assisted brakes became optional.[3]
Despite these improvements, by the early 1920s the performance of the Silver Ghost's competitors had improved to the extent that its previous superiority had been eroded. Sales declined from 742 in 1913 to 430 in 1922, and the company decided to launch its replacement which was introduced in 1925 as the New Phantom. After this, older 40/50 models were called Silver Ghosts to avoid confusion.
In all, a total of 7874 Silver Ghost cars were produced from 1907 to 1926 including 1701 from the American Springfield factory, many of them still running to this day.
Goudstert speg
(Campethera abingoni)
Goudstertspeg
(Campehtera abigoni)
The golden-tailed woodpecker (Campethera abingoni) is a species of bird in the family Picidae. Its specific name commemorates the 5th Earl of Abingdon. It belongs to a species complex that includes the Knysna woodpecker to the south of its range, and the mostly allopatric Mombasa woodpecker to the northeast, with which it perhaps hybridizes.
The combination of barred, greenish upper part plumage, and streaked underparts is distinctive. Their golden-olive tails do not differ markedly from those of several related or sympatric woodpecker species, but their single, strident call-note is characteristic.
It measures 20[3] to 21 cm from bill tip to tail tip. The southern races weigh about 70 g, but the northern race C. a. chrysura, only about 55 g. Males are on average larger and heavier than females. The sexes are best distinguished by their head markings, as the red and brown fore-crowns of males differ unmistakably from those of females that are black and spotted white. The malar stripes of males are red and that of females mottled black and white. The iris is usually dark red but variable, the mandibles slate grey, and the legs and feet greenish-olive. Juveniles are heavily streaked on the throat and breast and barred on the belly. They and have mottled malar stripes, and a brown to brownish-grey iris.
There are 6 to 7 accepted races. C. a. chrysura (Swainson, 1837) occurs from Senegambia to western Uganda. It is quite green above, has streaked ear coverts and is smaller in size than either C. a. suahelica or C. a. abingoni, without overlap. The tropical race C. a. kavirondensis van Someren, 1926 is olive-green above and more broadly barred, with thinner streaking below. C. a. suahelica (Reichenow, 1902) which occurs from the Kilimanjaro region to northern Swaziland, is similar to the former but has a yellower toned upper parts. The nominate race is widespread in arid and mesic woodlands of southern Africa, and has denser throat streaking than C. a. suahelica. C. a. anderssoni (Roberts, 1936) occurs from southwestern Angola to northwestern South Africa. It has very dense throat and breast streaking, locally verging on solid black. C. a. constricta Clancey, 1965 which occurs from southern Mozambique to KwaZulu-Natal, is smaller than the nominate race, and has the upper part plumage greener and under part plumage more yellowish.
Wikipedia
"Do you want to marry the person you like? But you are facing many problems. In such a situation 'Dua For Getting Married To The Person You Want' can help you. It is a very powerful dua to get married to someone you love.
To know more, You can read this article about Dua To Get Married To A Specific Person You Want. duaforistikhara.com/dua-to-get-married-to-specific-person/
You can also take help from an Islamic expert who can help you to perform this dua in a proper way. If you are looking for such a person you can contact Ghulam Ali Dehlavi by calling at 91-9041350758 (Whatsapp, Telegram, Viber)."
Candid shot captured during "Asylum", the first immersive, site-specific, interactive theatrical play in the style of Punch Drunk’s "Sleep No More", taking place in Phoenix Arizona. The show is produced by Vessel, co-directed by Rachel Bowditch and Eileen Standley, designed by a team of six designers featuring 5 dancers, 4 actors, and an aerialist.
Location: The Ice House
SET 1 – Colony Crossing Kroger, Pre-Remodel
As I mentioned, this is a reversed store, so produce – naturally the first department we encounter upon entering – is located here in the front left corner of the building. The sign on the left-hand wall, seen in the previous image, features the “main” wall sign with the text “Fresh Produce,” while a secondary sign here on the front wall reiterates “Produce” for the customer.
All the hanging signs around the department, if I’m not mistaken, hail from Kroger’s bountiful décor era, and would not have been original to the store; hence their slightly cluttered appearance, placed in front of the décor like this. Newer Kroger décor packages seem to have been better designed with the presence of hanging produce signage in mind (even though these are by-and-large not specific to any one décor package, even if they may share some design cues).
(c) 2024 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
1997-present
(Site-specific installation on the corner of 6th and Howard St. in San Francisco)
This multi-disciplinary sculptural mural involves seemingly animated furniture; tables, chairs, lamps, grandfather clocks, a refrigerator, and couches, their bodies bent like centipedes, fastened to the walls and window-sills, their insect-like legs seeming to grasp the surfaces. Against society’s expectations, these everyday objects flood out of windows like escapees, out onto available ledges, up and down the walls, onto the fire escapes and off the roof. “DEFENESTRATION” was created by Brian Goggin with the help of over 100 volunteers.
The concept of “DEFENESTRATION”, a word literally meaning “to throw out of a window,” is embodied by both the site and staging of this installation. Located at the corner of Sixth and Howard Streets in San Francisco in an abandoned four-story tenement building, the site is part of a neighborhood that historically has faced economic challenges and has often endured the stigma of skid row status. Reflecting the harsh experience of many members of the community, the furniture is of the streets, cast-off and unappreciated. The simple, unpretentious beauty and humanity of these downtrodden objects is reawakened through the action of the piece. The act of “throwing out” becomes an uplifting gesture of release, inviting reflection on the spirit of the people we live with, the objects we encounter, and the places in which we live.
The ground level has served as a rotating gallery for the vibrant artwork of street muralists.
Tune into radio station 106.9 when in the vicinity. RENEE PETROPOULOS
“PERSHING SQUARE/TITLE”
Curated by Susan Horowitz- Independent Curator for Phantom Galleries LA
PERSHING SQUARE/ TITLE GUARANTEE BUILDING LOFTS
1929-31 JOHN & DONALD PARKINSON ARCHITECTS
CITY OF LA HISTORIC-CULTURAL MONUMENT- DESIGNATED 1984
411 West 5th Street Los Angeles, 90013
car radio (106.9 fm) when traveling in the vicinity
Exhibit runs: April 22- June 30, 2008.
Pedestrian viewing 24/7
PERSHING SQUARE/TITLE is a site-specific visual and sound installation by artist Renee Petropoulos. This project continues Renee Petropoulos' exploration of the relationship between the architectural and social culture of LA. The starting point for this project is the original function of the building which housed the Title Guarantee and Trust Co., a business comprised of holding the deeds to LA properties. The work consists of a series of audio commentaries by various voices (people) revealing their points of view on different LA locations. Both amateur and authoritative voices are included and the often poetic, emotional nature of the language of these perceptions reveals unexpected passions for the historic and the current elements of the city. Descriptions of hospital rooms, immigration offices, cinema locations and palatial pink factories serve to illuminate our cumulative and collective response to LA. The fusion of the public and private perceptions of the city furthers ideas about architecture, ownership and individual interior reflection.
The project will be in constant evolution reflecting a changing situation through both audio and visual encounters. The audio component of the interviews will be broadcast from the building being available at street level, and through your car radio (106.9fm) when traveling in the vicinity and via the PhantomGalleriesLA.com website, excerpts made of vinyl lettering, culled from the interviews will be added one sentence at a time on a weekly basis to the Title Guarantee Building Art Space Windows.
“PERSHING SQUARE/TITLE” at the Art Deco/ Zigzag Moderne LA Historic-Cultural Monument on Pershing Square, presents a compelling urban street experience of encountering diverse perspectives of LA. The Pershing Square area is central to Downtown LA’s extraordinary urban transformation as a vital place to work, live and visit. It is a resonant place to consider the issues raised by this public art work.
Media contact Phantom Galleries LA:
Liza Simone
213.626.2854
Liza@PhantomGalleriesLA.com
Upcoming Title Guarantee Building Art Space Exhibits:
July curated by Dangerous Curve DangerousCurve.org
August curated by LACDA lacda.com
September curated by Edgar Varela Fine Art EdgarVarelaFineArts.com
LA artist Renee Petropoulos has produced permanent public art here including her mural in the rotunda of the LA Central Library, installations in Culver City and the Metro Green Line in El Segundo. She has exhibited her work extensively and produced temporary and permanent installations internationally. Her recent 2007 exhibition, Social Arrangements, featured five related ongoing projects encompassing painting, sculpture and audio. She is represented here by the Rosamund Felsen Gallery (rosamundfelsen.com/petropoulos/index.php). and is currently a professor in the graduate division of the Otis College of Art and Design.
Susan Horowitz is an independent curator and artist. She is working with Phantom Galleries LA to curate exhibits that illuminate contemporary urban issues. Her photo/text art work focuses on an exploration of the complex relationship between the individual, nature, and architecture of the urban West. Her current exhibition LA CONTINUUM, a collaboration with Carol Bishop, is a collection of glimpses of the flux of urban land, development and architecture. Hennessey and Ingalls Art and Architecture Books in Santa Monica (hennesseyingalls.com).
WEBSITE - susanhorowitz-laprojects.com
Phantom Galleries LA is a Los Angeles County based organization that transforms properties in transition into 24/7 public art galleries. Each installation is a unique relationship between the participating Artist, Curator, and Property Owner. Exhibits are curated by local Arts Organizations, Galleries, Independent Curators, and Artists. The project gives local artists an opportunity to exhibit their work, while fostering economic development by drawing attention to available retail space. PGLA promotes the creative communities of Los Angeles to a broader audience and encourages the appreciation and participation in the arts among community members and organizations creating a win/ win situation that benefits the entire community as a whole. Art is a necessary part of everyday life.
Title Guarantee Building Lofts
While the exterior architecture has qualified the building for inclusion on the Nation Historic Register, the completely reconstructed interiors are perfect for today’s modern living. Experience the excitement of the new Downtown Los Angeles and live in a landmark. For further information about The Title Guarantee Building Lofts contact 213. 627.3939 or titleguaranteebuilding.com
For further information about this exhibit contact - susanhorowitzproject@mac.com
For further information about Phantom Galleries LA contact Liza@PhantomGalleriesLA.com www.PHANTOMGALLERIESLA.COM
INSTALLATION IMAGES + STREAMING AUDIO ON PHANTOMGALLERIESLA.com
Phantom Galleries LA is proud to announce their invitation to curate and oversee exhibits showcasing the Art and Culture of Downtown Los Angeles at the new Title Guarantee Building Public Art Window Space. Exhibits are curated by Downtown LA Arts Organizations, Galleries, Independent Curators, and Artists and/or focus on topics about Downtown Los Angeles.
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) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
A Report to the Michigan Bird Records Committee
1. Species.
Spotted Redshank, Tringa erythropus
2. Number of individuals.
One
3. Date and time of sighting. (Please be sure to indicate how long your observations lasted.)
On 2 November 2018, discovered at 4:20 PM (DST) and last observed at 5:00 PM (DST), within this time span observed and photographed for at least 23 minutes
4. County.
Washtenaw County
5. Exact location. (Please be as specific as possible, including nearest crossroads; include GPS coordinates if known, as well as coordinate system and receiver type.)
Southeast of Scio Church Road and Parker Road intersection in Section 6, Lodi Township and northeast of this intersection in Section 31, Scio Township.
6. Detailed description of appearance. (Please be as specific as you can, and include if possible: size; shape; bill, eye and leg characteristics; color and pattern of plumage; and any other features that you observed. This is the most important part of your submission.)
A dusky, smoky-brown shorebird with long orange-red legs caught Margaret Jewett's eyes. It was on a mud flat in a marshy pond located about 150 feet to the east of Parker Road in Section 6 of Lodi Township. It had a typical Tringa shape and a long, fine straight bill; its size appeared somewhat smaller than that of an accompanying Greater Yellowlegs Tringa melanoleuca. With effort Margaret called my attention to this bird; at the time I was contemplating taking photos of a Pectoral Sandpiper Calidris melanotos. As soon as I had focused my binoculars on Margaret's bird, it took flight, revealing an oval white back patch that clearly contrasted with the dusky mantle, dusky wings and gray tail. These characteristics plus the orange-red tarsi clinched its immediate identification. Nevertheless I found it hard to believe what I had just seen. With binoculars I followed its flight to where it landed beyond a curtain of cattails and brush at the extreme north end of the marsh in Section 31 of Scio Township. Once relocated, I observed and photographed it at distances of 60 to 100 feet as it foraged, preened and dozed.
By direct comparison with eight Greater Yellowlegs, its overall form appeared more delicate and its movements more elegant than that of the yellowlegs. It frequently waded up to its belly, sometimes even swimming for several feet. Ongoing photographs viewed through my camera's LCD and later through Margaret's scope revealed the so-called kink or droop near the tip of the upper mandible. The bill was between 1.25 times to 1.3 times the length of the head in lateral profile. The basal one-third to almost one-half of the lower mandible was orange-red, but the hue was less intense than the orange-red of the tarsi. The rest of the bill was almost black. Also, photos revealed the hind toe and the small web between the outer two toes.
The Spotted Redshank was a hatch-year bird for the most part in first-basic plumage and it was in preformative molt: some of the scapulars of the bird's left and right side, as well as some of the mantle feathers, exhibited the plain-gray feathers of fresh formative plumage.
The white super-loral stripe was a notable facial feature, separating the dark brown lores from the gray-brown forehead. Above the postocular line was a patch of white post-ocular spots. A white upper and lower eye arc framed the dark eye. The ear coverts were marbled light gray.
The cream-white vent, flanks and under tail-coverts were closely barred with gray, whereas the cream-white belly had sparse gray barring. The throat, neck and breast were streaked gray and white. The forehead, crown and nape were gray-brown with delicate white streaks or tiny spots. The mantle was gray-brown with small white spots. The darker margins of the gray-brown scapulars, tertials and greater coverts had white notches. Likewise, the upper wing coverts were gray-brown with white marginal notches or spots.
Three primary tips extended beyond the tertials and fell short of the tail tip. Rectrix one and two (the top of the tail) were gray; their margins had white notches, between which black blobs extended as faded dark-gray bars toward the shaft. The margins of the closed lower rectrices appeared as a pattern of black and white spots.
7. Description of voice.
Sometimes, when taking flight across a stretch of water to rejoin the Greater Yellowlegs, the Spotted Redshank called with a brief series of disyllabic notes of changing tone, the rising inflection of which was utterly different than that of the single monotonic “teu” notes of the yellowlegs.
8. Behaviors observed.
My patience, a necessity for photography, coupled with six-and-a-half decades of bird observation, transformed this encounter into an experience of sheer pleasure, the kind that only an unimaginable surprise gives—almost nothing went unnoticed as a bit of the Palaearctic world unfolded before my eyes. During my slow, extremely cautious approach of stop and go, the Spotted Redshank stood stark still and alert with head held high, giving the occasional characteristic head-nod of the Tringa genus. I stood behind my tripod with mounted camera and lens in order to partially shield from view my upright stance. Except for slight movements of my head and hands for photography, I remained motionless throughout my observation. After accepting my presence, the bird foraged actively where patches of muddy shoreline protruded into open water, often wading up to its belly, even swimming across narrow stretches of deeper water. Foraging was by bill-probing into water or mud. Small prey items, usually pea size or smaller, were extracted with the bill and immediately swallowed. Two prey items were identified, each being a leech Hirudinea, one of which upon being snatched coiled itself around the bird's bill only to be swallowed whole.
Sometimes the Spotted Redshank foraged in loose association with one of eight Greater Yellowlegs. It seemed to have a subordinate position, for its tendency was to give way to the direct advances of any of the Greater Yellowlegs. After actively foraging, the Spotted Redshank became stationary, preening its body plumage, then dozing intermittently with eyes closed and head pulled in. Upon becoming active again, it foraged on a mud flat among the prostrate branches of a long-dead, fallen tree. As a result I could no longer take unobstructed photos nor continuously view it. Therefore I returned to Parker Road and rejoined Margaret Jewett. Together we relocated the bird from Scio Church Road and through her scope watched it forage, rest and preen.
9. Habitat
Habitat is a small wetland surrounded by agrarian fields and partitioned by two paved highways. A portion of the wetland is a pond at very low-water stage having broken stretches of mud flat. The marshy portions have patches of Typha and some shrubbery such as Salix, Cornus and Cephalanthus, as well as collapsed dead trees and standing stubs. A thick growth of Calamagrostis, Phalaris and Bidens partially covers the soggy outer edges of the marsh.
10. Similar Species and how eliminated
The possibility of the observed bird being an aberrant yellowlegs with orange tarsi was ruled out. Yellowlegs lack the following three characteristics which this Spotted Redshank had.
First, the bill structure did not conform to that of a Lesser Yellowlegs, being far too long in comparison to that of the head length. Nor did the bill conform to that of the Greater Yellowlegs, being far too thin and terminating into that peculiar droop which the Spotted Redshank is noted for. Furthermore, the basal portion of the lower mandible was notably orange-red and extended for a little over one-third the bill length, a colorful feature that yellowlegs lack.
Second, the oval white patch reaching up the back as revealed in flight is something that yellowlegs lack.
Third, the vent and belly of yellowlegs lack the gray barring that this juvenile Spotted Redshank had.
Last but not least, the Spotted Redshank lacked the stunning white secondaries of the Common Redshank Tringa totanus.
11. Previous experience with this species and similar species.
I’ve studied Spotted Redshanks as wintering birds in Morocco and as spring arrivals in Finland. I’ve observed Common Redshanks within a span of 27 years in Iceland, Denmark, Norway, Sweden, Finland, Morocco and Japan. My experience with both species of yellowlegs reaches back to 1960 in North America.
12. Distance from bird(s) and how measured or estimated (indicate which).
Observation distances ranged from 60 to 100 feet. A Google Earth map at a 50-foot scale was used to approximate these distances.
13. Optical equipment used.
Swarovski EL 10X42 binoculars; Canon Lens EF 500mm with Extender 1.4x and Canon camera EOS 5D Mark IV; Margaret Jewett’s Leica 10X42 binoculars and her Swarovski 25X-60X 85mm spotting scope.
14. Light (sunny versus cloudy, position of sun in relation to bird[s] and you).
The entire sky was low with clouds.
As I faced the bird, its position in the marsh ranged from due east to north by northeast from me. As Margaret Jewett and I faced the bird, its position from us on Scio Church road was north by northwest. Therefore, the sun’s position would have been on the right side of my back in the marsh and on the left side of our backs while on the road (considering the Sun’s southward position on that date and time).
15. Other observers:
Margaret Jewett.
Subsequently, there were hundreds of other observers from around the country.
16. Did the others agree with your identification? (Please give contact information)
Margaret Jewett agreed with my identification. Her description of field marks as seen through her scope was submitted to eBird and included: Shorebird smaller than greater yellowlegs with striking red legs and lower mandible; long, thin bill with a slight droop at tip of bill(seen in photographs); brownish gray tertials with white margins interrupted by black notches looking like stitching; white fore-supercilium and red lower mandible highlighting pre-ocular black line connecting the eye to the black upper mandible; in combination with the red legs, the diagnostic white elliptical patch on the back observed when preening; first calendar year bird showing several all gray formative feathers on the upper scapulars and juvenile barring along the flanks.
Subsequently, hundreds of other observers from around the country agreed with this identification.
17. When did you first write down notes describing the bird(s) in question? (If you have field notes or notes written within a few days after returning from the field, then please include scans or photocopies of them with your submission.)
I did not take field notes. I have 177 photos ranging from very good to excellent showing all aspects of the bird in detail. Margaret took note of the field characteristics as I outlined them to her in the field. She submitted her description (above) to eBird within 24 hours of the sighting.
18. Books and other references consulted.
I did not need to consult books and references. The primary reference was the photos of the bird. Margaret Jewett referred to her Sibley’s and National Geographic Field Guides as well as Shorebirds: an identification guide by Peter Hayman, John Marchant, and Tony Prater.
19. Were the references consulted before or after you first wrote down a description?
Margaret looked at the field guides in her car for a general description after first spotting the shorebird with the red legs. The guides were not in hand when she viewed the bird and observed its characteristics.
20. How did the references influence the description?
The references did not influence the description. The references, in conjunction with the photographs, corroborated the identification.
21. Were photographs obtained?
One hundred seventy-seven photographs were obtained
22. Your name.
Alan J Ryff
Date you filled out this form.
10 November 2018
There are always specific things that reminds you of places you visit. This is one of them. We saw lots of 'cream cows' during our time in Brittany. I've never seen them anywhere on my visits in the UK, though I am sure they are there somewhere, but in the north of France they were in ever other field
A Report to the Michigan Bird Records Committee
1. Species.
Spotted Redshank, Tringa erythropus
2. Number of individuals.
One
3. Date and time of sighting. (Please be sure to indicate how long your observations lasted.)
On 2 November 2018, discovered at 4:20 PM (DST) and last observed at 5:00 PM (DST), within this time span observed and photographed for at least 23 minutes
4. County.
Washtenaw County
5. Exact location. (Please be as specific as possible, including nearest crossroads; include GPS coordinates if known, as well as coordinate system and receiver type.)
Southeast of Scio Church Road and Parker Road intersection in Section 6, Lodi Township and northeast of this intersection in Section 31, Scio Township.
6. Detailed description of appearance. (Please be as specific as you can, and include if possible: size; shape; bill, eye and leg characteristics; color and pattern of plumage; and any other features that you observed. This is the most important part of your submission.)
A dusky, smoky-brown shorebird with long orange-red legs caught Margaret Jewett's eyes. It was on a mud flat in a marshy pond located about 150 feet to the east of Parker Road in Section 6 of Lodi Township. It had a typical Tringa shape and a long, fine straight bill; its size appeared somewhat smaller than that of an accompanying Greater Yellowlegs Tringa melanoleuca. With effort Margaret called my attention to this bird; at the time I was contemplating taking photos of a Pectoral Sandpiper Calidris melanotos. As soon as I had focused my binoculars on Margaret's bird, it took flight, revealing an oval white back patch that clearly contrasted with the dusky mantle, dusky wings and gray tail. These characteristics plus the orange-red tarsi clinched its immediate identification. Nevertheless I found it hard to believe what I had just seen. With binoculars I followed its flight to where it landed beyond a curtain of cattails and brush at the extreme north end of the marsh in Section 31 of Scio Township. Once relocated, I observed and photographed it at distances of 60 to 100 feet as it foraged, preened and dozed.
By direct comparison with eight Greater Yellowlegs, its overall form appeared more delicate and its movements more elegant than that of the yellowlegs. It frequently waded up to its belly, sometimes even swimming for several feet. Ongoing photographs viewed through my camera's LCD and later through Margaret's scope revealed the so-called kink or droop near the tip of the upper mandible. The bill was between 1.25 times to 1.3 times the length of the head in lateral profile. The basal one-third to almost one-half of the lower mandible was orange-red, but the hue was less intense than the orange-red of the tarsi. The rest of the bill was almost black. Also, photos revealed the hind toe and the small web between the outer two toes.
The Spotted Redshank was a hatch-year bird for the most part in first-basic plumage and it was in preformative molt: some of the scapulars of the bird's left and right side, as well as some of the mantle feathers, exhibited the plain-gray feathers of fresh formative plumage.
The white super-loral stripe was a notable facial feature, separating the dark brown lores from the gray-brown forehead. Above the postocular line was a patch of white post-ocular spots. A white upper and lower eye arc framed the dark eye. The ear coverts were marbled light gray.
The cream-white vent, flanks and under tail-coverts were closely barred with gray, whereas the cream-white belly had sparse gray barring. The throat, neck and breast were streaked gray and white. The forehead, crown and nape were gray-brown with delicate white streaks or tiny spots. The mantle was gray-brown with small white spots. The darker margins of the gray-brown scapulars, tertials and greater coverts had white notches. Likewise, the upper wing coverts were gray-brown with white marginal notches or spots.
Three primary tips extended beyond the tertials and fell short of the tail tip. Rectrix one and two (the top of the tail) were gray; their margins had white notches, between which black blobs extended as faded dark-gray bars toward the shaft. The margins of the closed lower rectrices appeared as a pattern of black and white spots.
7. Description of voice.
Sometimes, when taking flight across a stretch of water to rejoin the Greater Yellowlegs, the Spotted Redshank called with a brief series of disyllabic notes of changing tone, the rising inflection of which was utterly different than that of the single monotonic “teu” notes of the yellowlegs.
8. Behaviors observed.
My patience, a necessity for photography, coupled with six-and-a-half decades of bird observation, transformed this encounter into an experience of sheer pleasure, the kind that only an unimaginable surprise gives—almost nothing went unnoticed as a bit of the Palaearctic world unfolded before my eyes. During my slow, extremely cautious approach of stop and go, the Spotted Redshank stood stark still and alert with head held high, giving the occasional characteristic head-nod of the Tringa genus. I stood behind my tripod with mounted camera and lens in order to partially shield from view my upright stance. Except for slight movements of my head and hands for photography, I remained motionless throughout my observation. After accepting my presence, the bird foraged actively where patches of muddy shoreline protruded into open water, often wading up to its belly, even swimming across narrow stretches of deeper water. Foraging was by bill-probing into water or mud. Small prey items, usually pea size or smaller, were extracted with the bill and immediately swallowed. Two prey items were identified, each being a leech Hirudinea, one of which upon being snatched coiled itself around the bird's bill only to be swallowed whole.
Sometimes the Spotted Redshank foraged in loose association with one of eight Greater Yellowlegs. It seemed to have a subordinate position, for its tendency was to give way to the direct advances of any of the Greater Yellowlegs. After actively foraging, the Spotted Redshank became stationary, preening its body plumage, then dozing intermittently with eyes closed and head pulled in. Upon becoming active again, it foraged on a mud flat among the prostrate branches of a long-dead, fallen tree. As a result I could no longer take unobstructed photos nor continuously view it. Therefore I returned to Parker Road and rejoined Margaret Jewett. Together we relocated the bird from Scio Church Road and through her scope watched it forage, rest and preen.
9. Habitat
Habitat is a small wetland surrounded by agrarian fields and partitioned by two paved highways. A portion of the wetland is a pond at very low-water stage having broken stretches of mud flat. The marshy portions have patches of Typha and some shrubbery such as Salix, Cornus and Cephalanthus, as well as collapsed dead trees and standing stubs. A thick growth of Calamagrostis, Phalaris and Bidens partially covers the soggy outer edges of the marsh.
10. Similar Species and how eliminated
The possibility of the observed bird being an aberrant yellowlegs with orange tarsi was ruled out. Yellowlegs lack the following three characteristics which this Spotted Redshank had.
First, the bill structure did not conform to that of a Lesser Yellowlegs, being far too long in comparison to that of the head length. Nor did the bill conform to that of the Greater Yellowlegs, being far too thin and terminating into that peculiar droop which the Spotted Redshank is noted for. Furthermore, the basal portion of the lower mandible was notably orange-red and extended for a little over one-third the bill length, a colorful feature that yellowlegs lack.
Second, the oval white patch reaching up the back as revealed in flight is something that yellowlegs lack.
Third, the vent and belly of yellowlegs lack the gray barring that this juvenile Spotted Redshank had.
Last but not least, the Spotted Redshank lacked the stunning white secondaries of the Common Redshank Tringa totanus.
11. Previous experience with this species and similar species.
I’ve studied Spotted Redshanks as wintering birds in Morocco and as spring arrivals in Finland. I’ve observed Common Redshanks within a span of 27 years in Iceland, Denmark, Norway, Sweden, Finland, Morocco and Japan. My experience with both species of yellowlegs reaches back to 1960 in North America.
12. Distance from bird(s) and how measured or estimated (indicate which).
Observation distances ranged from 60 to 100 feet. A Google Earth map at a 50-foot scale was used to approximate these distances.
13. Optical equipment used.
Swarovski EL 10X42 binoculars; Canon Lens EF 500mm with Extender 1.4x and Canon camera EOS 5D Mark IV; Margaret Jewett’s Leica 10X42 binoculars and her Swarovski 25X-60X 85mm spotting scope.
14. Light (sunny versus cloudy, position of sun in relation to bird[s] and you).
The entire sky was low with clouds.
As I faced the bird, its position in the marsh ranged from due east to north by northeast from me. As Margaret Jewett and I faced the bird, its position from us on Scio Church road was north by northwest. Therefore, the sun’s position would have been on the right side of my back in the marsh and on the left side of our backs while on the road (considering the Sun’s southward position on that date and time).
15. Other observers:
Margaret Jewett.
Subsequently, there were hundreds of other observers from around the country.
16. Did the others agree with your identification? (Please give contact information)
Margaret Jewett agreed with my identification. Her description of field marks as seen through her scope was submitted to eBird and included: Shorebird smaller than greater yellowlegs with striking red legs and lower mandible; long, thin bill with a slight droop at tip of bill(seen in photographs); brownish gray tertials with white margins interrupted by black notches looking like stitching; white fore-supercilium and red lower mandible highlighting pre-ocular black line connecting the eye to the black upper mandible; in combination with the red legs, the diagnostic white elliptical patch on the back observed when preening; first calendar year bird showing several all gray formative feathers on the upper scapulars and juvenile barring along the flanks.
Subsequently, hundreds of other observers from around the country agreed with this identification.
17. When did you first write down notes describing the bird(s) in question? (If you have field notes or notes written within a few days after returning from the field, then please include scans or photocopies of them with your submission.)
I did not take field notes. I have 177 photos ranging from very good to excellent showing all aspects of the bird in detail. Margaret took note of the field characteristics as I outlined them to her in the field. She submitted her description (above) to eBird within 24 hours of the sighting.
18. Books and other references consulted.
I did not need to consult books and references. The primary reference was the photos of the bird. Margaret Jewett referred to her Sibley’s and National Geographic Field Guides as well as Shorebirds: an identification guide by Peter Hayman, John Marchant, and Tony Prater.
19. Were the references consulted before or after you first wrote down a description?
Margaret looked at the field guides in her car for a general description after first spotting the shorebird with the red legs. The guides were not in hand when she viewed the bird and observed its characteristics.
20. How did the references influence the description?
The references did not influence the description. The references, in conjunction with the photographs, corroborated the identification.
21. Were photographs obtained?
One hundred seventy-seven photographs were obtained
22. Your name.
Alan J Ryff
Date you filled out this form.
10 November 2018
Yellow-billed stork
Geelbek ooievaar
Nimmersat
(Mycteria ibis)
The yellow-billed stork (Mycteria ibis), sometimes also called the wood stork or wood ibis, is a large African wading stork species in the family Ciconiidae. It is widespread in regions south of the Sahara and also occurs in Madagascar.
The yellow-billed stork is closely related to 3 other species in the genus Mycteria: the American woodstork (Mycteria americana), the milky stork (Mycteria cinerea) and the painted stork (Mycteria leucocephala). It is classified as belonging to one clade with these 3 other species because they all display remarkable homologies in behavior and morphology. In one analytical study of feeding and courtship behaviours of the wood-stork family, M.P. Kahl attributed the same general ethology to all members of the genus Mycteria, with few species-specific variations. These four species are collectively referred to as the wood-storks, which should not be confused with one alternative common name (wood-stork) for the yellow-billed stork.
Before it was established that the yellow-billed stork was closely related to the American woodstork, the former was classified as belonging to the genus Ibis, together with the milky stork and painted stork. However, the yellow-billed stork has actually long been recognised as a true stork and along with the other 3 related stork species, it should not strictly be called an ibis.
It is a medium-sized stork standing 90–105 cm (35–41 in) tall. The body is white with a short black tail that is glossed green and purple when freshly moulted. The bill is deep yellow, slightly decurved at the end and has a rounder cross-section than in other stork species outside the Mycteria. Feathers extend onto the head and neck just behind the eyes, with the face and forehead being covered by deep red skin. Both sexes are similar in appearance, but the male is larger and has a slightly longer heavier bill. Males and females weigh approximately 2.3 kg (5.1 lb) and 1.9 kg (4.2 lb) respectively.
Colouration becomes more vivid during the breeding season. In the breeding season, the plumage is coloured pink on the upperwings and back; the ordinarily brown legs also turn bright pink; the bill becomes a deeper yellow and the face becomes a deeper red.
Juveniles are greyish-brown with a dull, partially bare, orange face and a dull yellowish bill. The legs and feet are brown and feathers all over the body are blackish-brown. At fledging, salmon-pink colouration in the underwings begins to develop and after about one year, the plumage is greyish-white. Flight feathers on the tail and wing also become black. Later, the pink colouration typical of adult plumage begins to appear.
These storks walk with a high-stepped stalking gait on the ground of shallow water and their approximate walking rate has been recorded as 70 steps per minute. They fly with alternating flaps and glides, with the speed of their flaps averaging 177–205 beats per minute.They usually flap only for short journeys and often fly in a soaring and gliding motion over several kilometres for locomotion between breeding colonies or roosts and feeding sites. By soaring on thermals and gliding by turns, they can cover large distances without wasting much energy. On descending from high altitudes, this stork has been observed to dive deeply at high speeds and flip over and over from side to side, hence showing impressive aerobatics. It even appears to enjoy these aerial stunts.
This species is generally non-vocal, but utters hissing falsetto screams during social displays in the breeding season. These storks also engage in bill clattering and an audible “woofing” wing beat at breeding colonies Nestlings make a loud continual monotonous braying call to beg parental adults for food.
The yellow-billed stork occurs primarily in Eastern Africa, but is widely distributed in areas extending from Senegal and Somalia down to South Africa and in some regions of western Madagascar. During one observation of a mixed species bird colony on the Tana River in Kenya, it was found to be the commonest species there, with 2000 individuals being counted at once.
It does not generally migrate far, at least not out of its breeding range; but usually makes short migratory movements which are influenced by rainfall. It makes local movements in Kenya and has also been found to migrate from North to South Sudan with the rainy season It may also migrate regularly to and from South Africa. However, little is actually known about this bird’s general migratory movements. Due to apparent observed variation in migratory patterns throughout Africa, the yellow-billed stork has been termed a facultative nomad. It may migrate simply to avoid areas where water or rainfall conditions are too high or too low for feeding on prey. Some populations migrate considerable distances between feeding or breeding sites; usually by using thermals to soar and glide. Other local populations have been found to be sedentary and remain in their respective habitats all year round.
Its preferred habitats include wetlands, shallow lakes and mudflats, usually 10–40 cm deep but it usually avoids heavily forested regions in central Africa. It also avoids flooded regions and deep expansive bodies of water because feeding conditions there are unsuitable for their typical grope and stir feeding techniques.
This species breeds especially in Kenya and Tanzania. Although it is known to breed in Uganda, breeding sites have not been recorded there. It has been found to breed also in Malakol in Sudan and often inside walled cities in West Africa from Gambia down to northern Nigeria. Still other breeding sites include Zululand in South Africa and northern Botswana,[12] but are rarer below northern Botswana and Zimbabwe where sites are well-watered. Although there is no direct evidence of current breeding in Madagascar, young birds unable to fly have been observed near Lake Kinkony during October.
Their diet comprises mainly small, freshwater fish of about 60-100mm length and maximally 150g, which they swallow whole. They also feed on crustaceans, worms, aquatic insects, frogs and occasionally small mammals and birds.
This species appears to rely mainly on sense of touch to detect and capture prey, rather than by vision. They feed patiently by walking through the water with partially open bills and probe the water for prey. Contact of the bill with a prey item is followed by a rapid snap-bill reflex, whereby the bird snaps shut its mandibles, raises its head and swallows the prey whole. The speed of this reflex in the closely related American woodstork (Mycteria americana) has been recorded as 25 milliseconds and although the corresponding reflex in the yellow-billed stork has not been quantitatively measured, the yellow-billed stork’s feeding mechanism appears to be at least qualitatively identical to that of the American woodstork.
In addition to the snap-bill reflex, the yellow-billed stork also uses a systematic foot stirring technique to sound out evasive prey. It prods and churns up the bottom of the water as part of a “herding mechanism” to force prey out of the bottom vegetation and into the bird’s bill. The bird does this several times with one foot before bringing it forwards and repeating with the other foot. Although they are normally active predators, they have also been observed to scavenge fish regurgitated by cormorants.
The yellow-billed stork has been observed to follow moving crocodiles or hippopotami through the water and feed behind them, appearing to take advantage of organisms churned up by their quarry. Feeding lasts for only a short time before the bird obtains its requirements and proceeds to rest again.
Parents feed their young by regurgitating fish onto the nest floor, whereupon it is picked up and consumed by the nestlings. The young eat voraciously and an individual nestling increases its body weight from 50 grams to 600 grams during the first ten days of its life. Hence, this species has earned the German colloquial common name “Nimmersatt”; meaning “never full”.
Breeding is seasonal and appears to be stimulated by the peak of long heavy rainfall and resultant flooding of shallow marshes, usually near Lake Victoria. This flooding is linked to an increase in prey fish availability; and reproduction is therefore synchronised with this peak in food availability. In such observations near Kisumu, M.P. Kahl’s explanation for this trend was that in the dry season, most prey fish are forced to leave the dried-up, deoxygenated marshes that cannot support them and retreat to the deep waters of Lake Victoria where the storks cannot reach them. However, fish move back up the streams on the onset of rain and spread out over the marshes to breed, where they become accessible to the storks. By nesting at this time and providing that the rains do not end pre-maturely, the storks are guaranteed a plentiful food supply for their young.
The yellow-billed stork may also begin nesting and breeding at the end of long rains. This occurs especially on flat extensive marshlands as water levels gradually decrease and concentrate fish sufficiently for the storks to feed on. However, unseasonal rainfall has also been reported to induce off-season breeding in northern Botswana and western and eastern Kenya. Rainfall may cause local flooding and hence ideal feeding conditions. This stork appears to breed simply when rainfall and local flooding are optimal and hence seems to be flexible in its temporal breeding pattern, which varies with rainfall pattern throughout the African continent.
As with all stork species, male yellow-billed storks select and occupy potential nest sites in trees, whereupon females attempt to approach the males. The yellow-billed stork has an extensive repertoire of courtship behaviours near and at the nest that may lead to pair formation and copulation. Generally, these courtship behaviours are also assumed to be common to all Mycteria species and show remarkable homology within the genus Mycteria. After the male has initially established at the nesting-site and the female begins to approach, he displays behaviours that advertise himself to her. One of these is the Display Preening, whereby the male pretends to strip down each of his extended wings with the bill several times each side and the bill does not effectively close around the feathers. Another observed display among males is the Swaying-Twig Grasping. Here, the male stands on the potential nesting-site and bends over to gently grasp and release underlying twigs at regular intervals. This is sometimes accompanied by side-to-side oscillations of the neck and head and he continues to pick at twigs in between such movements.
Reciprocally, approaching females display their own distinct behaviours. One such behaviour is the Balancing Posture, whereby she walks with a horizontal body axis and extended wings toward the male occupying the nesting-site. Later, when the female continues to approach or already stands near an established male, she may also engage in Gaping. Here, the bill is gaped open slightly with the neck inclined upward at about 45o . and often occurs in conjunction with the Balancing-Posture. This behaviour ordinarily continues if the male accepts the female and has allowed her to enter the nest, but the female usually closes her wings by this time. The male may also continue his Display-Preening when standing next to the female in the nest
During copulation, the male steps onto the female’s back from the side, hooks his feet over her shoulders, holds out his wings for balance and finally bends his legs to lower himself for cloacal contact, as happens in most birds. In turn, the female holds out her wings almost horizontally. The process is accompanied by bill clattering from the male as he regularly opens and closes his mandibles and vigorously shakes his head to beat his bill against the female’s. In turn, the female keeps her bill horizontal with the male’s or inclined downward at approximately 45 degrees.] Average copulation time in this species has been calculated as 15.7 seconds.
The male and female build the nest together either in high trees on dry land away from predators, or in small trees over water. Nest building takes up to 10 days. The nest may be 80–100 cm in diameter and 20–30 cm thick. The female typically lays 2-4 eggs (usually 3) on alternate days[ and average clutch size has been recorded as 2.5. The male and female share duties to incubate the eggs, which takes up to 30 days. As in many other stork species, hatching is asynchronous (usually at 1- to 2-day intervals), so that the young in the brood differ considerably in body size at any one time. During food shortage, the smaller young are at risk of being outcompeted for food by their larger nest-mates.
Both parents share duties of guarding and feeding the young until the latter are about 21 days old. Thereafter, both parents forage to attend to the young’s intense food demands. Alongside parental feeding by regurgitation of fish, parents have also been observed to regurgitate water into the open bills of their nestlings, especially on hot days. This may aid the typical thermoregulatory strategy of the young (common to all stork species) to excrete dilute urine down their legs in response to hot weather. Water regurgitated over the young serves as a water supplement in addition to fluid in their food, so that they have sufficient water to continue urinating down their legs to avoid hyperventilation. Additionally, parents sometimes help keep the young cool by shading them with their open wings.
The nestlings usually fledge after 50–55 days of hatching and fly away from the nest. However, after leaving the nest for the first time, the offspring often return there to be fed by their parents and roost with them for another 1–3 weeks. It is also thought that individuals are not fully adult until 3 years old and despite lack of data, new adults are thought to not breed until much later than this.
Fledglings have also been observed to not differ considerably in their foraging and feeding strategies from adults. In one investigation, four adult, hand-reared yellow-billed storks kept in captivity showed typical grope-feeding and foot stirring shortly after they were introduced to bodies of water. Hence, this suggests that such feeding techniques in this species are innate.
These birds breed colonially, often alongside other species; but the yellow-billed stork is sometimes the only occupant species of a nesting site. A subset of up to 20 individuals may nest close together in any one part of a colony; with several males occupying potential nest sites all in the same place. If many of these males do not acquire mates, the whole group moves on with the unpaired females to another tree. These “bachelor parties” are a noticeable feature of colonies of this species and usually consist of 12 or more males and at least as many females. As many as 50 nests have been counted all at once in a single breeding area.
Despite their gregariousness during breeding, most individuals generally ignore each other outside nesting-sites; although some hostile encounters may occur. Some of these encounters involve one individual showing an unambiguous attack or escape response if there is a large difference in social status between the two individuals. However, if two individuals are equally matched, they slowly approach each other and show a ritualised display called the Forward Threat. Here, one individual holds its body forward horizontally and retracts the neck so that it touches the crown, with the tail cocked at 45 degrees and all feathers erect. It approaches the opponent and points its bill at it, sometimes gaping. If the opponent does not capitulate, the attacker may grab at it with its bill and the two may briefly spar with their bills until one retreats in an erect stance with compressed plumage.
Hostility can also arise between opposite sexes when a female approaches a male on a potential nest site. Both sexes may display a similar aforementioned Forward Threat, but clatter their bills after grabbing with them at the other stork and extend their wings to maintain balance. Another hostile behaviour between sexes is the Snap Display,whereby they snap horizontally with their bills while standing upright. This may occur during and immediately after pair formation, but subsides later in the breeding cycle as the male and female become familiar with each other and it eventually disappears.
Nestlings show remarkable behavioural transformations at 3 weeks of age. During the constant parental attendance before this time, the young show little fear or aggression in response to intruders (such as a human observer), but are found to merely crouch low and quietly in the nest. After this time, when both parents go foraging and leave the young in the nest, a nestling shows strong fear in response to an intruder. It either attempts to climb out of the nest to escape or acts aggressively toward the intruder.
WIkipedia
Sow Thistle
s specific epithet oleraceus means "vegetable/herbal".[9][10][a] The common name 'sow thistle' refers to its attractiveness to pigs, and the similarity of the leaf to younger thistle plants. The common name 'hare's thistle' refers to its purported beneficial effects on hare and rabbits.[11]
Invasiveness
Annual sowthistle is considered an invasive species due to its rapid growth, prolific seed production, and wide dispersal. The plant thrives in disturbed environments, such as roadsides and agricultural fields, spreading aggressively through wind-dispersed seeds. It forms dense populations that outcompete native vegetation by quickly establishing in open areas, particularly after soil disturbance. Sowthistle's resilience to various soil types and its ability to reseed itself make it difficult to control in many regions.[12][13][14]
In Australia it is a common and widespread invasive species, with large infestations a serious problem in crops.[15]
Uses
Green salad with carrot, cucumber, onion, sowthistle leaves, and tomato slices
The leaves are eaten as salad greens or cooked like spinach. This is one of the species used in Chinese cuisine as kŭcài (苦菜; lit. bitter vegetable).[citation needed] The younger leaves are less bitter and better to eat raw. Steaming can remove the bitterness of older leaves.[16] The younger roots are also edible and can suffice as a coffee substitute.[17]
Nutrition
Nutritional analysis reveals 30–40 mg of vitamin C per 100g of plant, 1.2% protein, 0.3% fat, 2.4% carbohydrate. Leaf dry matter analysis per 100 g (likely to vary with growing conditions) shows: 45 g carbohydrate, 28 g protein, 22 g ash, 5.9 g fibre, 4.5 g fat; in all, providing 265 calories.
Minerals
Calcium: 1500 mg
Phosphorus: 500 mg
Iron: 45.6 mg
Magnesium: 0 mg
Sodium: 0 mg
Potassium: 0 mg
Zinc: 0 mg
Vitamins
A: 35 mg
Thiamine (B1): 1.5 mg
Riboflavin (B2): 5 mg
Niacin: 5 mg
B6: 0 mg
C: 60 mg
Herbalism
Sonchus oleraceus has a variety of uses in herbalism. It also has been ascribed medicinal qualities similar to dandelion and succory.[11] When the plant was introduced to New Zealand, the Māori people found it similar to and as palatable as their native pūhā or S. kirkii (also known as raurōroa),[4] thus also picked up S. oleraceus (since also named rauriki) for similar food and medical use.[18][19]
Native Americans had many uses for this plant. Pima used its gum as a "cure for the opium habit," as a cathartic, and as a food, where the "{l}eaves and stems {were} rubbed between the palms of the hands and eaten raw" and sometimes "boiled." The Yaqui used the plant as a vegetable, where the "{t}ender, young leaves boiled in salted water with chile and eaten as greens." The Kamia (Kumeyaay) "boiled {the} leaves {and} used {it} for food as greens." The {Houma} used it as an abortifacient where an "{i}nfusion of {the} plant {was} taken to 'make tardy menstruation come;'" an antidiarrheal; for children that were teething; and as hog feed.[20]
The Samaritans eat the leafs of this bitter plant on the feast of passover. The bitter leafs are eaten together with Paschal lamb and unleavened bread, as dictated by the Bible (Exodus 12, 8): “ They shall eat the flesh that night, roasted on the fire; with unleavened bread and bitter herbs they shall eat it.” Thus, the Samaritans identify Sonchus oleraceus with the bitter herbs.
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) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Gov. Neil Abercrombie today signed House Bill 656, establishing the Health Care Transformation Program within the Governor’s office to advance the transformation.
“Improving health and the quality of care while bending the cost curve are among my administration’s top priorities,” Gov. Abercrombie said. “Addressing these concerns requires a new systematic approach that affects health care statewide.”
HB656 (Relating to Health Care Administrative Uniformity) also sets specific responsibilities for creating a strategy and timeline for statewide healthcare transformation that includes developing standards to measure quality and costs, reducing administrative burdens for providers and insurers, and improving and expanding the use of information technology to support transformation.
The measure explicitly gives the Governor the authority to obtain information by consulting with any stakeholders, individually or in groups, as part of the foundation for transformation. This is crucial since the healthcare sector cannot make systematic, coordinated changes of its own volition because:
- antitrust issues preclude many kinds of concerted group action that are not mandated and/or supervised by government authority;
- while insurers, hospitals, and provider groups can all make sweeping changes within the scope of their own organizations, these changes may have little effect on the rest of the system; and
- private sector health organizations agree on improving health, quality and cost, but implementing strategies without regulation or at least industry coordination is difficult because such organizations may have mixed motivations in a competitive environment.
“The cost of health care affects every resident and business in Hawaii,” said Beth Giesting, the state’s Healthcare Transformation Coordinator. “While health insurance premiums in Hawaii are relatively modest and offer good coverage, the inflationary trend – on average about 6 percent per year – results in wage stagnation and limited opportunities for business expansion.”
More than any other entity in Hawaii, the state is directly impacted by the effectiveness of the healthcare system as it purchases coverage for nearly 40 percent of the population, and that percentage will grow when new eligibility provisions and requirements under the federal Affordable Care Act result in Medicaid expansion. Med-QUEST programs now cover more than 20 percent of the state’s population with a budget of nearly $2 billion. The Hawaii Employer-Union Health Benefits Trust Fund covers nearly 15 percent of the population (Its annual budget is $523 million and it carries an unfunded liability of $14.4 billion). The state budget also supports the Hawaii Health Systems Corporation, emergency and trauma services at other facilities, behavioral health care, federally qualified health centers, and more.
Also today, Gov. Abercrombie signed the following measures in separate bill signing ceremonies:
Kupuna Bills
Individuals 65 years or older account for 14.7 percent of Hawaii’s population, which makes Hawaii the eighth in the nation in terms of the greatest percentage of older Americans. The following bills provide protections and resources needed for Hawaii’s growing kupuna population.
- HB529 (Relating to Care Homes)
- HB120 (Relating to Health)
- SB106 (Relating to Aging)
- HB398 (Relating to Human Services)
- SB102 (Relating to the Elderly)
SB102 specifically requires that financial institutions report instances of suspected financial abuse of an elder directly to the appropriate county police department (via 911) and the state Department of Human Services via Adult Protective Services:
Oahu – 832-5115
Kauai – 241-3337
Maui – 243-5151
East Hawaii – 933-8820
West Hawaii – 327-6280
Other Health-Related Bills
These bills protect consumers, ensure qualified professionals provide medical treatment, and help families who have loved ones suffering from a severe mental illness obtain treatment.
- HB847 (Relating to Enforcement Tools to Improve Patient Safety)
- SB1074 (Relating to Physical Therapy)
- SB310 (Relating to Mental Health Treatment)
Housing Bills
The following bills address housing needs and recognize that one size does not fit all when finding a solution to end homelessness.
- SB515 (Relating to Housing)
- HB536 (Relating to Public Housing)
[your] total score
psychopath test pclr
please score yourself 0 1 2 3 on each of the 20 items and record your score as a comment on the total score image
The PCL-R is a clinical rating scale (rated by a psychologist or other professional) of 20 items. Each of the items in the PCL-R is scored on a three-point scale according to specific criteria through file information and a semi-structured interview. A value of 0 is assigned if the item does not apply, 1 if it applies somewhat, and 2 if it fully applies. In addition to lifestyle and criminal behavior the checklist assesses glib and superficial charm, grandiosity, need for stimulation, pathological lying, conning and manipulating, lack of remorse, callousness, poor behavioral controls, impulsivity, irresponsibility, failure to accept responsibility for one's own actions and so forth. The scores are used to predict risk for criminal re-offence and probability of rehabilitation.
The current edition of the PCL-R officially lists four factors (1.a, 1.b, 2.a, and 2.b), which summarize the 20 assessed areas via factor analysis. The previous edition of the PCL-R[5] listed two factors. Factor 1 is labelled "selfish, callous and remorseless use of others". Factor 2 is labelled as "chronically unstable, antisocial and socially deviant lifestyle". There is a high risk of recidivism and currently small likelihood of rehabilitation for those who are labelled as having "psychopathy" on the basis of the PCL-R ratings in the manual for the test, although treatment research is ongoing.
PCL-R Factors 1a and 1b are correlated with narcissistic personality disorder and histrionic personality disorder. They are associated with extraversion and positive affect. Factor 1, the so-called core personality traits of psychopathy, may even be beneficial for the psychopath (in terms of nondeviant social functioning).
PCL-R Factors 2a and 2b are particularly strongly correlated to antisocial personality disorder and criminality and are associated with reactive anger, criminality, and impulsive violence. The target group for the PCL-R is convicted criminals. The quality of ratings may depend on how much background information is available and whether the person rated is honest and forthright.
[edit] The two factorsFactor 1: Personality "Aggressive narcissism"
Glibness/superficial charm
Grandiose sense of self-worth
Pathological lying
Cunning/manipulative
Lack of remorse or guilt
Shallow affect (genuine emotion is short-lived and egocentric)
Callousness; lack of empathy
Failure to accept responsibility for own actions
Factor 2: Case history "Socially deviant lifestyle".
Need for stimulation/proneness to boredom
Parasitic lifestyle
Poor behavioral control
Lack of realistic long-term goals
Impulsivity
Irresponsibility
Juvenile delinquency
Early behavior problems
Revocation of conditional release
Traits not correlated with either factor
Promiscuous sexual behavior
Many short-term marital relationships
Criminal versatility
Acquired behavioural sociopathy/sociological conditioning (Item 21: a newly identified trait i.e. a person relying on sociological strategies and tricks to deceive)
Early factor analysis of the PCL-R indicated it consisted of two factors. Factor 1 captures traits dealing with the interpersonal and affective deficits of psychopathy (e.g. shallow affect, superficial charm, manipulativeness, lack of empathy) whereas Factor 2 dealt with symptoms relating to antisocial behaviour (e.g. criminal versatility, impulsiveness, irresponsibility, poor behaviour controls, juvenile delinquency).
The two factors have been found by those following this theory to display different correlates. Factor 1 has been correlated with narcissistic personality disorder, low anxiety, low empathy, low stress reaction and low suicide risk but high scores on scales of achievement and well-being. In addition, the use of item response theory analysis of female offender PCL-R scores indicates factor 1 items are more important in measuring and generalizing the construct of psychopathy in women than factor 2 items.
In contrast, Factor 2 was found to be related to antisocial personality disorder, social deviance, sensation seeking, low socio-economic status[6] and high risk of suicide. The two factors are nonetheless highly correlated and there are strong indications they do result from a single underlying disorder. However, research has failed to replicate the two-factor model in female samples.
Recent statistical analysis using confirmatory factor analysis by Cooke and Michie indicated a three-factor structure, with those items from factor 2 strictly relating to antisocial behaviour (criminal versatility, juvenile delinquency, revocation of conditional release, early behavioural problems and poor behavioural controls) removed from the final model. The remaining items are divided into three factors: Arrogant and Deceitful Interpersonal Style, Deficient Affective Experience and Impulsive and Irresponsible Behavioural Style.
In the most recent edition of the PCL-R, Hare adds a fourth antisocial behaviour factor, consisting of those Factor 2 items excluded in the previous model. Again, these models are presumed to be hierarchical with a single unified psychopathy disorder underlying the distinct but correlated factors.
The Cooke & Michie hierarchical ‘three’-factor model has severe statistical problems—i.e., it actually contains ten factors and results in impossible parameters (negative variances)—as well as conceptual problems. Hare and colleagues have published detailed critiques of the Cooke & Michie model. New evidence, across a range of samples and diverse measures, now supports a four-factor model of the psychopathy construct,] which represents the Interpersonal, Affective, Lifestyle, and overt Antisocial features of the personality disorder.
Diagnostic criteria and PCL-R assessmentPsychopathy is most commonly assessed with the PCL-R, which is a clinical rating scale with 20 items. Each of the items in the PCL-R is scored on a three-point (0, 1, 2) scale according to two factors. PCL-R Factor 2 is associated with reactive anger, anxiety, increased risk of suicide, criminality, and impulsive violence.
PCL-R Factor 1, in contrast, is associated with extraversion and positive affect. Factor 1, the so-called core personality traits of psychopathy, may even be beneficial for the psychopath (in terms of nondeviant social functioning). A psychopath will score high on both factors, whereas someone with APD will score high only on Factor 2.
Both case history and a semi-structured interview are used in the analysis.
I have never talked much about specific experiences I had in Vietnam but something that happened today moves me to comment. This thing about not going to the cemetery in France because of the rain says so much, not only about honoring those who died 100 years ago, but also about what anyone who's ever been in combat can't forget. The event today brings memories of me and my platoon spending night after night in monsoon rains with only an air mattress and light "poncho liner" for cover with mortar rounds going off too close for comfort. No tent, no shelter, just the rain and a war. We didn't have the option of "cancelling because of the rain." And the names of at least 30 members of my company are engraved on the Vietnam Memorial Wall. If the helicopter can't fly, there are other ways the president of the United States can travel 50 miles. I feel an incredible sadness that someone who purports to be in charge of our country is so devoid of feeling. We are better than this! Photo taken at Tay Ninh Base Camp, Vietnam shortly after I was reassigned from serving as an infantry radio telephone operator to serving as company clerk for Co. B, 2nd Battalion, 7th Cavalry.