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Te diep in die bottel kyk? This looks a lot like a microscopic shot of botanical dissection, but its not...
Palm and dorsal views of the left hand drawn life size using contour and cross-contour lines without shading.
Faber-Castell graphite pencil, 3B, Castell 9000 series
Strathmore sketch paper, medium surface, separate sheets
Joe Knowles (American 1869 -1942)
Pencil on paper
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The Columbia Pacific Historical Society in Ilwaco, Washington, has mounted an exhibit of the art of Joe Knowles.
Knowles, a skilled artist and relentless self-promoter moved to Seaview, Washington, after a notorious scandal on the East Coast.
He's been called one of early start of reality performance. Before considering his art, it's worth exploring the chapter in his life that led him to pull up stakes back East and move to an isolated village on Washington's Long Beach Peninsula.
Here's the story.
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[In 1913], Joe Knowles stripped down to his jockstrap, said goodbye to civilization, and marched off into the woods to prove his survival skills. He was the reality star of his day. For eight weeks, rapt readers followed his adventures in the Boston Post. He returned home to a hero’s welcome. That’s when things got interesting.
The expedition began on a drizzly August morning, in a sort of no-man’s land outside tiny Eustis, Maine. The spot was some 30 miles removed from the nearest rail line, just north of Rangeley Lake, and east of the Quebec border. Knowles showed up at his starting point, the head of the Spencer Trail, wearing a brown suit and a necktie. A gaggle of reporters and hunting guides circled him.
Knowles stripped to his jockstrap. Someone handed him a smoke, cracking, “Here’s your last cigarette.” Knowles savored a few meditative drags. Then he tossed the butt on the ground, cried, “See you later, boys!,” and set off over a small hill named Bear Mountain, moving toward Spencer Lake, 3 or 4 miles away. As soon as he lost sight of his public, he lofted the jockstrap into the brush—so that he could enjoy, as he would later put it in one of his birch-bark dispatches, “the full freedom of the life I was to lead.”
If Knowles made himself sound like Tarzan, it was perhaps intentional. One of the most popular stories in Knowles’s day was Tarzan of the Apes, an Edgar Rice Burroughs novella. Published in 1912 in the pulp magazine All-Story, it starred a wild boy who goes “swinging naked through primeval forests.” The story was such a hit that in 1914 it was bound into book form.
Pulp magazines (so named because they were published on cheap wood-pulp paper) represented a new literary form, born in 1896. They offered working-class Americans an escape into rousing tales of life in the wilderness. Bearing titles like Argosy, Cavalier, and the Thrill Book, they took cues from Jack London, whose bestselling novels, among them The Call of the Wild (1903) and White Fang (1906), saw burly men testing their mettle in the wild. They were also influenced by Teddy Roosevelt, who insisted that modern man needed to avoid “over-sentimentality” and “over-softness” while living in cities. “Unless we keep the barbarian virtue,” Roosevelt argued, “gaining the civilized ones will be of little avail.”
On the morning of October 5, the Post’s front page blared, “KNOWLES, CLAD IN SKINS, COMES OUT OF THE FOREST.” A subhead continued, “Boston Artist, Two Months a ‘Primitive Man,’ Steps into the Twentieth Century near Megantic, Province of Québec.” Subsequent copy read, “Tanned like an Indian, almost black from exposure to the sun…. Scratched and bruised from head to foot by briars and underbrush…. Upper garment sleeveless. Had no underwear.”
Picked up nationwide, the Post’s piece explained that Knowles had just traversed the most inhospitable portion of the Maine woods, after which, when he had emerged on the outskirts of Megantic, he had made his first human contact—a young girl he had found standing by the railroad track. “And the child of 14, wild-eyed, stared at him,” the story said, “and into her mind came the memory of a picture of a man of the Stone Age in a history book.”
Not everyone believed the story. In late October, after he had returned to civilization, an editorial in the Hartford Courant wondered whether “the biggest fake of the century has been palmed off on a credulous public.” Meanwhile, a reporter from the rival Boston American had begun working on a long story about Knowles. The paper specialized in blockbuster exposés, and its investigative bloodhound, Bert Ford, had spent seven weeks combing the woods around Spencer Lake, aided in his research by a man he would call “one of the ablest trappers in Maine or Canada,” Henry E. Redmond.
On December 2, in a front-page article, Ford went public with the explosive allegation that Knowles was a liar. He zeroed in on Knowles’s alleged bear killing, noting that the Nature Man’s bear pit was but 4 feet wide and 3 feet deep. In boldface, the story asserted, “It would have been physically impossible to trap a bear of any age or size in it.” Knowles’s club was likewise damning evidence. Found leaning against a tree, it was a rotting stub of moosewood that Ford easily chipped with his fingernails.
According to the Boston American, Knowles had a manager in the Maine woods, and also a guide who bought the bearskin from a trapper for 12 dollars. The bear had not been mauled, but rather shot. “I found four holes in the bear skin,” Ford averred after meeting Knowles and studying the very coat he was wearing. “Experts say these were bullet holes.”
Ford argued that Knowles’s Maine adventure was in fact an “aboriginal layoff.” He wasn’t gutting fish and weaving bark shoes, as the Post’s dispatches suggested. Rather, he was lounging about in a log cabin at the foot of Spencer Lake and also occasionally entertaining a lady friend at a nearby cabin.
No matter; Knowles had gained the notoriety he needed to launch a national tour of speaking engagements, publish a book, and sell his artwork.
Prior to his notoriety for adventure, Knowles was an illustrator whose work graced the cover of numerous periodicals. The “Golden Age” of illustration was in full swing and Knowles’ artwork fit right in. By the early 1920s Knowles had settled in Seaview, Washington where he made his living from his paintings, prints and commissioned works.
This exhibition will focus on Joe Knowles as an artist. His paintings, prints and drawings were widely collected and played an important role in this community where he spent the final decades of his career. “By placing his work in the context of early 20th century American art and illustration we hope that viewers will gain a better understanding of Joe Knowles as a creative and accomplished artist,” said CPHM Director and Curator, Betsy Millard.
www.bostonmagazine.com/news/2013/03/26/naked-joe-knowles-...
Junior kinesiology major Jurane Culbreath relaxes in his socks on the steps of Eastern Illinois University's Doudna Fine Arts Center while studying for a human physiology test on Oct. 8 2010.
An entomologist sets up a trap to collect adult mosquitoes in a house. Afterwards he will bring it to the laboratory to study its behavior and pattern changes as for example insecticide resistance.
Credits: Joshua E. Cogan.
An investigative study into the ways in which certain minorities express themselves, in this case, it’s Drag Queens. Drag is an art and refined skill, but most importantly, drag is a way for one to express themselves through the beauty of a performative identity. Having spoken to over 100 queens over Instagram, I have discovered so much about the culture; such as the fact that there are categories of queens such as comedy queens, spooky queens, club kids, pageant and the most dominant being look queens. It’s fair to say that drag is not something you’d class as ‘normal’, but that certainly doesn’t devalue the significance it truly holds. Breaking gender stereotypes is such a vital way for society to progress. Offensive ideologies such as sexism, homophobia and even transphobia seem to be alleviated as soon as one gets into drag. A man dressed as a women, (usually) part of the LGBT community and clothed in a plethora of elegant attires is so strongly standing for those who are socially repressed in nowadays society for the way in which they identify. Talking to Dixey the queen, she opened my eyes to the idea that “drag is there for those who need that boost of inspiration, that kick of confidence or stance of pride. I live unapologetically and standing on that stage with my double Ds and 30 inch wig makes me feel powerful. but i don’t do it for my own ego, I do it for those who need need the encouragement to be who they want. Yeh, I look like a fool up there, but when my head is high and the crowds are cheering, someone in the world is feeling like they can conquer anything and that is why I get up every morning”. (Ran out of word count - will post my essay soon)
The world class boanical collections in Waimea Valley owe there existence to Mir. Keith Woolliams, a dedicated botanical horticulturist who was trained at the Royal Botanic Garden at Kew, on the outskirts of London.
Keith led a rich life traveling around the globe studying botanical collections in England, Japan, Papua New Guinea and Bermuda. He brought to Hawaii his expertise and knowledge of uncommon horticultural treasures, and he acquired seeds, plants, and cuttings from remote places and botanical gardens all over the world. In pre-internet days dozens of letters and packages were dispatched and received daily.
His theme of "Conservation Through Cultivation" resulted in a balance of rare and useful native and Polynesian-introduced plants among exotic horticultural specimens.
What was once an ungroomed valley, filled with koa haole and ravaged by feral cattle was transformed into what you see today by Keith and the many dedicated people he inspired. They oversaw the design, landscaping and construction of the pathways, stone walls and stairs that frame the gardens. Keith's high standards for record keeping and signage persist to this day. He left us in 1998 with a library full of his propagation knowledge, cultivation practices and plant lore which survives to ensure that the precious life forms brought to this valley will thrive here long into the future.
Keith was an inspiring advocate for Hawatian plant conservation and he influenced many young people across the state. He connected Waimea with state, federal and international agencies such as the Center for Plant Conservation, the International Union for the Conservation of Nature, and the Botanical Gardens Conservation International - partnerships that Waimea Valley continues to uphold today.
Keith was instrumental in bringing in critically endangered plants from Japan's Ogasawara Islands, hibiscus relatives from all over the world, and with international colleagues he tried to assemble wild-source collections of every species of Erythrina in the world. In the periodical, "Notes from Waimea Arboretum and Botanical Garden" published twice a year until 1992 he stated "Waimea is a labeled and documented collection of plants for educational and scientific purposes, a living gene pool for future generations".
It is with great honor and gratitude that we remember Mr. Keith Woolliams and his dedication to Waimea Valley.
Saint Louis University – Madrid Campus has developed its academic curriculum to offer undergraduates a study abroad experience for either one semester or one year. Students can choose from a wide range of courses and programs to create their own program of study, while fulfilling their home university’s requirements in Madrid.
Students interested in studying in Madrid must contact their study abroad counselors. Complete course descriptions and syllabi are available online.
In a small shop in Heho, Myanmar, a man is getting his hair cut. The barber pays close attention to his work while a novice monk watches.
For the PhotoBlog story, please visit: www.ursulasweeklywanders.com/travel/burmese-short-stories...
Cleo has spotted a dog behind the fence. She definitely doesn't like the neighbour's dogs and considers them as noisy, hormone-driven creatures without the slightest manners. But it doesn't hurt to have a close eye on them and study them carefully. The so obtained knowledge might offer a strategic advantage in case of a closer encounter...
Cat study: Macro. "Punky the Cat" See album: www.flickr.com/photos/87249144@N08/albums/72177720296470039.
Please see Winter studies set www.flickr.com/photos/wendycoops224/sets/72157632268275117/
Also can be found here! the BBC Springwatch #Coldsnaps Gallery for 2017 www.flickr.com/photos/31216459@N07/galleries/721576772997...
Photo was taken with a nex-5 and a sel55210 lens + marumi achromat.
Camera was on tripod
Strobist info: Light source is a minolta 5600HSD flash with a rim-light adapter. It was triggered with a WanSen radio trigger.
See my DIY rim-light adapter here:
www.flickr.com/photos/fiberstrobe/sets/72157628084740325/
My blog:
Shinnecock Reservation: L.I., NY: Labour Day Powwow, September 2006.
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Shinnecock Tribe
Rte 27-A, Montauk Hwy
Southhampton, NY 111968
631-283-6143
State recognized; (no BIA office liason - seriously ridiculous!)
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Shinnecock Indian Nation: An Ancient History and Culture.
Since the beginning, Shinnecock time has been measured in moons and seasons, and the daily lives of our people revolved around the land and the waters surrounding it. Our earliest history was oral, passed down by word of mouth from generation to generation, and as far back as our collective memory can reach, we are an Algonquin people who have forever lived along the shores of Eastern Long Island.
Scientists say we came here on caribou hunts when the land was covered with ice. But our creation story says we were born here; that we are the human children of the goddess who descended from the sky. It was she, the story goes, who caused the land to form beneath her feet from the back of Great Turtle, deer to spring forth from her fingertips; bear to roar into awakening, wolf to prowl on the first hunt. It was she who filled the sky with birds, made the land to blossom and the ponds and bays to fill with fish and mollusks. And when all was done, the Shinnecock, the People of the Shore, appeared in this lush terrain. We are still here.
As coastal dwellers, we continue to prize the bounty of the sea, the shellfish, the scaly fish, which for thousands of years provided the bulk of our diet. We were whalers, challenging the mighty Atlantic from our dugout canoes long before the arrival of the big ships, long before the whaling industry flourished in the 19th century.
In the 1700's, we became noted among the northeastern coastal tribes for our fine beads made from the Northern quahog clam and whelk shells. The Dutch, who arrived on our shores before the English, turned our beads (wampum) into the money system for the colonies.
The Shinnecock Nation is among the oldest self-governing tribes of Indians in the United States and has been a state-recognized tribe for over 200 years. In 1978, we applied for Federal Recognition, and in 2003, we were placed on the Bureau of Indian Affairs' "Ready for Active" list.
Traditionally, decisions concerning the welfare of the tribe were made by consensus of adult male members. Seeking to shortcut the consensus process in order to more easily facilitate the acquisition of Indian lands, the Town of Southampton devised a three member trustee system for the Shinnecock people. This system of tribal government was approved by the New York State legislature in February of 1792. Since April 3, 1792, Shinnecock Indians have gone to the Southampton Town Hall the first Tuesday after the first Monday in April to elect three tribal members to serve a one- year term as Trustees. In April of 2007, the Shinnecock Indian Nation exercised its sovereign right as an ancient Indian Nation and returned to one of its basic Traditions: it bypassed the Southampton Town Hall and for the first time since 1792 held its leadership elections at home, where they will remain.
The Trustee system, however, did not then and does not now circumvent the consensus process, which still remains the governing process of the Shinnecock Indian Nation. Major decisions concerning the tribe are voted yea or nay by all eligible adult members, including women, who gained the right to vote in the mid-1990s. Also in that period, the Shinnecock Nation installed a Tribal Council, a 13 member body elected for two years terms. The Council is an advisory body to the Board of Trustees.
Today, we number over 1300 people, more than 600 of whom reside on the reservation adjacent to the Town of Southampton on the East End of Long Island. While our ancestral lands have dwindled over the centuries from a territory stretching at least from what is known today as the Town of Easthampton and westward to the eastern border of the Town of Brookhaven, we still hold on to approximately 1200 acres.
With modest resources, we have managed to build a community to help us better meet the demands of an ever expanding and intrusive world. In addition to the Shinnecock Presbyterian church building and its Manse, our infrastructure includes a tribal community center, a shellfish hatchery, a health and dental center, a family preservation and Indian education center, a museum, and playgrounds for our children. Also on our list of recent achievements is the design and development of an official Shinnecock Indian Nation flag and an official seal.
Our skilled craftspeople and fine artists find employment within the Tribe as well as the surrounding area. The number of tribal members holding advanced degrees in law, business, medicine, social sciences and liberal arts continues to grow, and tribal members hold positions of responsibility in all areas, including teaching, banking and counseling, both within and outside the Shinnecock community.
One of the earliest forms of economic development that the Shinnecock Nation undertook was to lease Reservation acreage to local area farmers for their crops, mainly potatoes and corn. While the project did bring in a small income for the Tribe, the resulting damages from pesticides leaking into the ground water and polluting our drinking water supply were enormous. We had great expectations for our shellfish hatchery (Oyster Project) but brown tide and general pollution forced it to close before it had the chance to develop into the business enterprise it was planned to be. In the summer of 2005, the Tribe began reseeding parts of its waterways with oysters, and celebrated a renewal harvest of Shinnecock chunkoo oysters at the Tribal Thanksgiving Dinner, November 2006.
At the present moment, the Shinnecock annual Powwow is the economic development project of record for the Shinnecock Nation. Revived in 1946 as a benefit for our church, the Powwow has evolved into an event that hosts thousands of visitors. But we are at the mercy of the weather. For the past two years, rainstorms have forced us to drastically revise our budgeting plans. We are now exploring Indian Gaming as a means of attaining the much needed self-sufficiency that will enable us to perform the sacred duties laid out for us by the Ancestors — to protect, manage and maintain the Shinnecock Indian Nation.
By Bevy Deer Jensen
Shinnecock Nation Communications Officer
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For more information on the Shinnecock Nation, please visit: www.shinnecocknation.com/
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photography: a. golden, eyewash design, c. 2006.
*** waiting for friday ***
After 3 hours of history, physics.
I'm so tired right now.... I want to go sleep :D :(