One of the very last tangible remnants of the Frisco in the Gulf Coast is this enormous former freight warehouse in Mobile, Alabama. A barely visible outline of the words "St. Louis San Francisco Railway" identify the warehouse as part of the old SLSF nearly four decades after the railroad folded into Burlington Northern.

 

The Frisco reached the Gulf Coast through its purchase of the Muscle Shoals, Birmingham and Pensacola Railroad in 1925 giving it access to Pensacola, Florida. Through an agreement with the Alabama, Tennessee and Northern in 1928, the Frisco expanded to Mobile. Frisco successor Burlington Northern continued to operate the former MSB&P and AT&N into the 1990s. Between 1997 and 2003, BNSF spun off its Frisco trackage south of Columbus, Mississippi to the Alabama and Gulf Coast Railway which later became a part of the Genesee and Wyoming empire.

Chief Statistician and Data Officer and Statistics Department Director Bert Kroese opens the 10th IMF Statistical Forum: Measuring the Tangible Benefits of Intangible Capital at the International Monetary Fund.

 

IMF Photo/Cory Hancock

16 November 2022

Washington, DC, United States

Photo ref: CH221116020.arw

Enduring Sustainable Growth of Qatar

 

The tangible legacy of Sheikh Hamad Bin Khalifa Al Thani would be the progressive sustainable growth in infrastructures and commerce brought about by the prosperous commercial district and Doha's Skyline at West Bay which act as a back drop for the notable Museum of Islamic Art. His excellency, Sheikh Hamad Bin Khalifa is a member of the ruling Al Thani Qatari royal family. And he was the ruling Emir of Qatar from 1995 to 2013. His numerous economic achievements have pushed and made Qatar one of the richest countries in the world.

 

The museum draws much influence from ancient Islamic architecture, yet has a unique design. It was the first of its kind in Arab States of the Persian Gulf and has a very large collection of Islamic art, plus a study and a library. Facilities also include IDAM, a high class restaurant offering a dining experience of French Mediterranean cuisine with an Arabic twist. Sabiha Al Khemir served as the founding director of the museum from 2006-2008.The museum has a total area of 45,000 m2 and lies on the edge of Doha harbour at the south end of Doha Bay. Construction by Baytur Constr.Co. (Turkey) reached completion in 2006, but the museum's interior was subjected to a variety of changes thereafter. The museum celebrated its VIP opening on November 22, 2008, and opened to the general public on December 8, 2008.

Declining all proposed sites for the museum, Pei suggested a stand-alone island for the structure in order to avoid the encroachment on other buildings. Thus it was built on the water, 64 acres (260,000 m2) approximately 195 feet (59 m) off the Doha Corniche and surrounded by a park. Pei requested, further, that the museum spaces be designed by his collaborator on the Louvre project, Wilmotte & Associes, who then assembled a design team including Plowden & Smith (conservation consultants), Isometrix Lighting + Design (lighting consultants), SG Conseil (AV Consultants) under Turner Projacs.

The aprons and regalia shown here are likely Scottish Rite.

 

Masonic Aprons in Craft lodges are always at the ready for visitors.

 

www.flickr.com/search/?q=Masonic+apron

 

Background history:

www.phoenixmasonry.org/symbolism_and_design_of_the_masoni...

 

Delivered in the Lodge by W. Bro. C.J.E. Hudspeth, PM, AMIE Australia on June 24, 1949.

 

The Apron is not a modern invention, in fact it is the most ancient of all garments. In the 3rd Chapter of Genesis these words are written: "and the eyes of them both were opened, and they knew they were naked, and they sewed fig leaves together, and made themselves aprons."

 

We are not so much interested in Adam and Eve's apron as we are in the Masonic apron. Boutelle, in his story of the building of King Solomon's Temple, says: "When the construction of King Solomon's Temple was commenced, workmen were selected to carry out the different trades. Hiram, the widow's son, proclaimed that before entering upon the undertaking the aid of God should first be invoked, and as the Temple was to be God's Holy House and erected to Him, each workman having a part in its construction should offer a sacrifice to God on the Altar of Burnt Offering. The Lamb had in all ages been deemed an Emblem of Innocence and was offered as a sacrifice. With the exception of the skin, the whole of the lamb was consumed. The skins were properly prepared and Hiram caused aprons to be made of them. One apron from the skin of each lamb sacrificed, one apron for each mason under him."

 

When the aprons had been presented to the workmen, Hiram is reported to have said: "Masonic authority makes this, the snow-white lambskin apron, its first tangible gift to you and ordains that all Masons in all ages, wherever they may be throughout the world, shall ever receive it and always wear it." The apron is an emblem of innocence. Innocent life has gone out of the world: for every man an apron - for every apron a life.

 

This sacrifice is typical of a greater sacrifice promised by the Almighty and prophesied by all the Prophets of Isreal - the coming of the Messiah who shall be offered for the guilty world. This is the badge of a Mason. It sets the Mason apart from other men. There shall be many who seek to wear it and those to whom it is given shall exalt themselves because of possessing it. No other gift that mere man can bestow can equal this honour and dignity. Kings can bestow no decorations or titles so worthy as this.

 

The Senior Warden says: "More ancient than the Golden Fleece or Roman Eagle, more honourable than the Garter or any other Order in existence, being the Badge of Innocence and bond of friendship." The Order of the Golden Fleece was founded by Phillip the Good, Duke of Burgundy and the Netherlands on January 10th, 1430, in honour of his marriage to Isabel, daughter of King John of Portugal.

 

It is not definitely known why the order was named the Golden Fleece, but there are four surmises as to its origin.

 

(1) In memory of Jason and his exploits in Greek Legends.

 

(2) Because the wealth of Flanders came largely from wool.

 

(3) That it was so named in memory of Gideon's request that the Lord would prove his Power by causing the dew of heaven to fall only on a fleece set out in the night while the surrounding ground remained dewless. (Judges 6th Chapter. Verses 37 to 40).

 

(4) That it was named in honour or the Duke's own mistress because he gloried in her wondrous fleece of beautiful golden hair.

 

Jason.

 

According to a Greek legend, there was a fabled ram with a golden fleece, on which the discarded wife of the King of Thessaly placed her son and daughter, bidding the ram to carry them to a place of safety far from the wrath of her successor in the King's affections. The daughter, whose name was Helle, fell into the waters of the Strait which connects the Aegean Sea with Constantinople, from which event the Strait was given the name of Hellespont - the Dardanelles of the present day.

 

The boy kept his hold and he reached the land of Colchis on the eastern shore of the Black Sea. Here he sacrificed the ram and gave its fleece to the King of that country, who had received him hospitably. The fleece was hung up in a sacred grove and guarded day and night by a dragon that never slept.

 

Jason, a Grecian hero, charged with bringing back the Golden Fleece to Thessaly - as the price of a Kingdom - set out on his quest in the good ship ARGO, manned with his Argonaut crew of immortal heroes. After many thrilling adventures he succeeded in the mission, and with a yoke of fire-breathing bulls performed the task assigned to him of ploughing under the dragon's teeth which produced a crop of warriors. These assailed him, but turned against each other when Jason sprinkled them liberally with a potent lotion prepared for him by Medea, his lady love who was, luckily, a sorceress of great power. This legend or myth is probably intended to dramatise the first Grecian expedition.

 

The Roman Eagle was associated with the God Jupiter in Roman Mythology. Jupiter was the lord of life and light. The most celebrated temple of Jupiter was on the Capitoline Hill in the City of Rome. The Roman represented Jupiter as seated on the throne of ivory, holding in his right hand a sheaf of thunderbolts and in his left a sceptre, whilst an eagle stands beside his throne. When about to go into battle the consuls offered sacrifice to Jupiter praying that he might lead them against the enemy and, on their return from victory, thanks-givings were offered in his name.

 

The figure of the eagle appears on the Standards of the Roman legions and is reflected in the national ensigns of the United States of America, of France under Napoleon, of Imperial Germany and WWII Germany, Mexico and other nations.

 

The Eagle is an emblem of might and courage amongst birds, as is the lion among beasts. Its far-seeing vision, the vast height to which it soars, the wild grandeur of its abode and its longevity have been extolled in poetic phrases by the poets of every tongue and nation.

 

When the Roman Eagle yielded its sway over the then known world, that world sank into a night of 1000 years during which time - with few exceptions - no pet, painter, orator, statesman, inventor, or discoverer was produced; an age which ended only with the discovery of America by Christopher Columbus, accompanied by the production of gold and other wealth in sufficient quantities to stimulate the world to a new day and new era.

 

The tassels have seven strings which represent-

 

(1) The 7 liberal Arts and Sciences-Grammar, Rhetoric (the art and science of expression), Logic, Arithmetic, Geometry, Music, Astronomy.

The number 7 appears in nearly every ancient institution.

 

(2) 7 or more the make a lodge perfect.

 

(3) King Solomon was 7 years and upwards in building the temple to God's Service.

 

(4) 7 was the perfect number of the Pythagoreans because it was composed of three and four-the sum of the points of the triangle and the square-the two perfect figures.

 

(5) The 7 steps.

 

(6) 7 Altars burned constantly before Mithra.

 

(7) The Hindus believed the world to be surrounded by 7 peninsulas.

 

(8) There are 7 spacious caverns in the Persian mysteries.

 

(9) The 7 branched candlestick of the Jews representing the Sun as the central light and six other planets.

 

(10) Jacob saw a ladder of 7 steps leading to heaven.

 

The sum of the strings in the two tassels is 14, which was the number of pieces into which the body of OSIRIS was divided by Set in the Egyptian mysteries.

 

The Ribbon Around the Edge of the Apron

 

The blue ribbon around the apron has a deep symbolic meaning, and it will be seen that on reference to the Volume of the Sacred Law, The Book of Numbers, Chapter 15.

 

37th Verse - And the Lord spake unto Moses saying.

 

38th Verse - Speak unto the Children of Israel, and bid them that they make them fringes in the borders of their garments, and that they put upon the fringe of the borders a riband of blue

 

39th Verse - And it shall be unto you for a fringe, that you may look upon it, and remember all the commandments of the Lord and do them; that ye seek not after your own heart and your own eyes; after which ye used to go a whoring;

 

40th Verse - That ye may remember, and do my commandments, and be holy unto your God.

 

41st Verse - I am the Lord your God, which brought you out of the land of Egypt, to be your God: I am the Lord your God.

 

The Colour of the Ribbon

 

The Blue of the Apron is Cambridge Blue. It is closely related to the colour of the Virgin Mary, which is itself derived from the Blue of the Ancient Egyptian Goddess Isis. In 1813 the English Grand Lodge standardised the size and shape of aprons. The Blue of the apron is also the "Garter blue" of an early date. King George II changed the Garter Blue from its original colour to its present dark blue to distinguish his Garter Knights from those created by the exiled Stuarts. According to Mackay, the blue border was added - the colour of the firmament enveloping the globe - emblematic of universal friendship and benevolence, instructing us that in the mind of a Freemason these virtues should be as extensive as the vault of Heaven itself.

 

The Two Levels

 

Standing erect, the form of the apron gives two levels, one at the top, one at the bottom. The lower level is laid in the earth. It is symbolical of the level of time along which we walk toward that place from which no traveller returns. The level above it is laid in the heavens - a spiritual level. It is a promise that those who walk uprightly before God and Man (which is symbolised by the two perpendiculars on either side) shall walk eternally on the spiritual level.

 

The Plumbs or sides, admonish rectitude. Rectitude of Conduct. Rectitude of Morals, Rectitude of Life.

 

2 Kings 21-13th Verse - and I will stretch over Jerusalem the line of Samaria and the plummet of the house of Ahab.

 

Isiaah 28-17th Verse - Judgment also will I lay to the line, and righteousness to the plummet.

 

Amos 7-7th Verse - Thus he showed me, and behold the Lord stood upon a wall made by a plumbline, with a plumbline in his hand.

 

Amos 7-8th Verse - And the Lord said unto me, Amos what seest thou? And I said, A plumbline. Then said the Lord, Behold I will set a plumbline in the midst of my people Israel. I will not again pass by them any more.

 

Zachariah 4-10th Verse - For who hath despised the day of small things? For they shall rejoice, and shall see the plummet in the hand of Zerrubabel with those even, they are the eyes of the Lord, which run to and fro through the whole earth.

 

Which means that God has been lenient with his people in the past but without avail, he now proposes to set up in their midst a test of uprightness - a plumb line - and if his people failed to measure up to it, He would no more ignore their shortcomings but would rigourously punish them. Let none fail to walk uprightly. God and Man watch him. God and Man shall witness for him in another day.

 

The Squares

 

There are four squares upon the Apron - one in each corner. The square leads a man from below to above, from the earthly level to the spiritual level. We should always live up to the Law of the Square-which is found in the Bible. Matthew 22-37, Mark 12-30, Luke 10-27: "And thou shall love the Lord thy God, with all thy heart, and with thy soul and with all thy mind, and with all thy strength." This is the first commandment, and the second, thus "Thou shalt love thy neighbour as thyself". There are no greater commandments than these.

 

Laboriously lay levels, perseveringly erect plumbs, but with double care and reverent hearts square all things that we, the architect of our spiritual temple, may find favour in the all-seeing eye of the great Architect and be permitted to walk forever on the level in realms of eternal light.

 

The Serpent.

 

www.flickr.com/photos/51035825322@N01/3690704970/in/photo...

 

There are two kinds of symbolism in all ancient religions.

 

(1) The enemy of Man and therefore the representative of the power of evil.

 

(2) Emblem of Divine Wisdom. (Matthew 10-16. "Be ye wise as serpents" does not refer to the craftiness of the devil but to divine wisdom.)

 

In ancient Egypt, the Soul as he passed through the underworld met with serpents of evil and also with serpents of good. In India legend tells us of a whole order of beings, the Serpent Folk, who are of a spiritual nature - different from man, possessed of their own rulers and endowed with superhuman wisdom. Some of these were considered to be friendly to man while others were hostile. The Sacred Cobra is well known to every student of Hindu religion and is essentially good. Actual worship is paid to the serpent throughout the whole of India and in many other parts of the world. In the Kabala we get traces of the fact that under certain circumstances the serpent is regarded as "the Shining One", the Holy Wisdom itself. Thus we see that the Serpent on our apron denotes that we are encircled by the Holy Wisdom. Finally - the serpent biting its tail and thus forming a circle, has always been regarded as the emblem of Eternity and more especially of the Eternal Wisdom of God.

 

www.flickr.com/photos/35171459@N02/5626082522/

  

The Tau(s)

 

www.flickr.com/photos/21728045@N08/7762218972/in/photolis...

 

As the Master Mason advances and becomes Master of his Lodge, the rosettes of his apron give way to three Taus or levels as they are generally called. The Tau is the symbol of the Creator.

 

It is said that Tau was the mark set upon the foreheads of those referred to in Ezekiel 9-4th Verse 4 (see also Rev. 7-3): "Go through the midst of the city, and set a mark upon the foreheads of the men that sigh and cry for all the abominations that be done in the midst thereof," which mark was to distinguish them as persons to be saved on account of their sorrow for sin,from the idolaters who were to be slain. With reference to the 9th Chapter of Ezekiel, 4th Verse, the Holy Bible as used by the Roman Catholics, translated from the Latin Vulgate says: "Go through the midst of Jerusalem and mark thou upon the foreherads of men that sign."

 

Tau is the last letter in the Hebrew alphabet. The Greek letter Tau is T. This Tau cross was of universal use as a sacred symbol among the ancients. The Hebrews used it as a sign of Salvation. It is thought to be much older than the time of Ezekiel and that when Moses annointed Aaron as the High Priest, he marked his forehead with this sign. It is said to have saved the youthful Isaac from death, redeemed from destruction an entire people whose houses were so marked, healed the venomous bites of those who looked up at the serpent, raised in the form of a "tau" upon a pole, and called back the soul into the dead body of the son of that poor widow who had given bread to the prophet. It was a mark worn by the devotees of Brahmah. To the Druids it was a symbol of their supreme God. The Tau Cross as worn on the Master's Apron, replacing the Rosettes, is thought by some to be the Egyptian Ankh, as worn by the ancient Egyptian Gods. The Ankh represent Life. Every God carried it.

 

The T or Tau cross, is an ancient symbol of the ongoing of Eternal Life. The vertical line represents the inner nature of the individual intelligence. The cross bar in the beginning is at the bottom. As life goes on, obstructions and temptations to right living are gradually overcome. When the cross bar has risen threequarters, the individual Intelligence of Soul has "lived the life" and worked out his own salvation. When the cross bar is at the top, the soul has triumphed over death and the conscious self-identity of his own individual intelligence independent of his physical body assures him of the on-going of eternal life, symbolised by the circle added to the Tau Cross. The Gods are cosmic principles, and in man are powers and attributes of the Soul. Every part of the Egyptian God had a deep symbolic meaning such as the Sceptre as a symbol of power. It will be seen in reference to drawings of Goddesses that they carry a reed sceptre for this reason: The reed is a water plant, symbol of the first life, coming from a concealed source, making its way through the material mud and then the less dense or limped water, up into the material air. The reed is carried by the goddesses as a symbol of the source of human life over which they have dominion.

 

Off world: www.flickr.com/photos/59889843@N07/9849048825/in/photolis...

 

Whilst we are mainly concerned with the English Masonic apron (albeit Victorian and somewhat Scottish and Irish), reference to the Masonic clothing in other lands may be of interest.

 

Belgium. - The Grand Lodge Aprons are of light blue silk, embroidered with gold fringe, without tassels. The collars are embroidered with gold with the jewels of office, and with acacia and other emblems.

 

Egypt. - The Grand Orient uses the same clothing as the Grand Lodge of England, but the colours are thistle and sea green. The rank of wearer is denoted by the number of stars on his collar.

 

France. - The Grand Orient has aprons very elaborately embroidered or painted and edged with crimson or blue. In the third degree, blue embroidered sashes are used lined with black.

 

Greece. - In recent years the clothing has become exactly identical with that worn in England, although formerly silk and satin aprons painted and embroidered with crimson were worn.

 

Germany. - Aprons varied greatly in size and shape, from square to the shape of a shield. Some bear rosettes and others the level. There is no uniformity and German Lodges had jewels apparently according to the taste of each.

 

Holland. - Each Lodge selects its own colours for aprons and the ribbons to which the jewels are attached. Individuals may use embroidery, fringes, etc., according to their own fancy.

 

Hungary. - The members of Grand Lodge wear collars of light blue silk with a narrow edging of red, white and green-their national colours-from which are suspended five pointed stars. The Grand Lodge Officers wear collars of orange colour edged with green and lines with white silk. They are embroidered with the acacia and the emblems of office. The aprons have a blue edging with three rosettes for a Master Mason.

 

Italy. - The Entered Apprentice apron is plain white silk. The Fellow craft is edged and lined with a square printed in the centre. The Master Mason wears an apron lined and edged with crimson, bearing the square and compasses. He also wears a sash of green silk, edged with red, embroidered with gold and lined with black on which are embroidered the emblems of mortality in silver. It must be remembered, however, that Freemasonry for some time past has been suppressed in Italy, the reason being that it intermeddled in national politics.

 

Iceland. - Plain white aprons, edged with blue, bearing the number of the lodge. At the Annual Communication lambskins are worn with a narrow silver braid in the centre of the ribbon. In former days, the Worshipful Master always wore a red cloak and silk hat.

 

Portugal. - The apron of the Grand Lodge Officers are of white satin, edged with blue and gold and with three rosettes. The collar is made of blue silk with the acacia embroidered in gold.

 

Spain. - The apron of the Entered Apprentice is of white leather, rounded at the bottom, with a pointed flap, worn raised. The Fellowcraft wears the same with the flap turned down, and the Mason (Master) wears a white satin apron with a curved flap, edged with crimson, and embroidered with a square and compass, enclosing the letter G. The letters M and B, and three stars also appear. It is lined with black silk and embroidered with the skull and crossbones and three stars.

 

Switzerland. - The clothing is simple. The Entered Apprentice apron is white with the lower corners rounded. The Fellowcraft has blue edging and strings, and the Master Mason has a wider border and three rosettes in the body of the apron, while the flap is covered with blue silk. The apron of the Grand Officers is edged with crimson, without tassels or rosettes, except in the case of the Grand Master, which has three crimson rosettes.

 

Thus it will be seen that our apron is a very honourable garment, one that we should treasure. It is an apron made of lambskin, pure white, without fault or stain - the colour of the Soul as mortal man sees it. It is ours and it now depends upon each of us to keep it without blemish - to keep it as a mirror of our soul that we may stand the final test when we reach into Life Eternal - which is just beyond.

 

Our Operative Brethren wore an apron to save their clothing from being soiled at work, so the Speculative brother dons it as a desire to be kept unsoiled from the world.

 

God's message to us is, "Be faithful unto death, and I shall give thee a Crown of Life". Thus may the purity and whiteness of our apron be a reflection of our Soul so that when our name is called on Judgment Day, we may look up to God and say, "I have fought the good fight. I have finished the course and I have kept the Faith."

 

And the Great Architect will say, "Enter, free and of good report".

 

"More Ancient."

 

According to Bro. Howe in his book THE FREEMASONS' MANUAL, Emnolphus of Trace was initiated in the Elusinian Mysteries (in Greece) in the year 1350 B.C. He was made the first priest and it was he who instituted the lambskin as a symbol of Peace and Goodwill. Thus it will be seen that the apron is indeed "more ancient than the Golden Fleece or the Roman Eagle."

 

The Order of the Garter is the oldest and highest order of knighthood in the world today. Founded in the year 1348 by Edward III., King of England, a blue garter is the badge of the Order on which is displayed its motto HONI SOIT QUI MAL Y PENSE. (Evil be to whom evil thinks).

 

www.flickr.com/photos/36616854@N02/9554616655/in/photolis...

 

A collar from which is suspended a figure of St. George, the Patron Saint of England, mounted in the act of slaying the dragon, and an eight-pointed star having a cross of four equal arms and angles in its centre, surrounded by the motto complete the Order insigna.

 

The origin of the Order is that the King picked up a garter dropped from her ladyship, the Countess of Salisbury, at a Ball and ,placing it about his own knee, said "HONI SOIT QUI MAL Y PENSE."

 

The Order was originally composed of 25 knights, exclusive of the Sovereign, the Royal Family and foreign Princes. It was first called the Order of St. George and ladies were admitted during its first two centuries. Today England's reigning Queen and Princess Elizabeth are the only members of the fair sex carried on the list-with the title "Lady of the Garter".

 

It is of interest to note that the Duke of Connaught, late Past Grand Master of the Grand Lodge of England, is one of the most distinguished members of the Order of the Garter.

 

Wearing of Badges

 

The wearing of Badges is an ancient custom. Israelite Priests wore Girdles. Indians, Persians (Iranians) and Egyptians of advanced rank wore white robes striped and ornamented with tassels and fringes.

 

Colour of the apron is white and has always been the colour for purity, and referered to in the Bible:- Eccles. 9. 8. "Let thy garments be always white." and in Rev. 3, 4. "They shall walk with me in white for they are worthy."

 

Aaron the High Priest was commanded when he entered the Sanctum Sanctorum to make an expiation for the sins of the people, to appear clothed in white linen. The war-like Scandinavians presented their candidates with a white shield. Disciples of Pythagoras chanted their songs clothed in garments of white. The Egyptians decorated the head of their principal deity OSIRIS with a white tiara and the priests wore robes of the whitest linen.

 

The word "candidate" itself is derived from the Latin word "candidus" - a white man.

 

In Germany (as well as in the Netherlands) the candidate in the first degree receives a pair of white gloves as a symbol of purity.

 

The Entered Apprentice Apron.

 

www.flickr.com/search/?w=21728045@N08&q=Entered%20app...

 

The apron is a perfect square, its four right angles teach us that Purity, Truth, Sincerity and Honesty are the foundations of morality. Its four sides remind us to practice the four cardinal virtues - Temperance in word and deed; Fortitude in a noble purpose; Prudence in judging wisely; Justice to the humblest and greatest alike. The Square (or 'four' ) is the symbol of matter. Four was the emblem of matter to the ancients because they thought that the earth flat, square, and marked by the four points of the compass.

 

The flap is triangle whose three sides teach us to relieve a distressed brother. To be kind and friendly in dealing with our fellow men. The triangle is the threefold revelation for God, or Divine Wisdom.

 

The circle formed by the strings is the symbol of Spirit.

 

The Entered Apprentice Apron should have the flap pointing upwards, indicating that Divine Wisdom has not yet truly penetrated the gross matter of our bodies.

 

The Equilateral triangle made by the upper flap teaches us the threefold personal revelation of God. The triangle is the Symbol of the Deity for this reason. In geometry, a single line cannot represent a perfect figure, neither can two lines. Three lines, however, constiute the triangle, or first perfect demonstrable figure. Hence this figure symbolises the Eternal God, infinitely perfect in his nature. But the triangle properly refers to God only in his quality as an eternal Being, its three sides representing the past, present and future. This symbolism of the Eternal God by the triangle is the reason why the Trinitarian scheme has been so prevalent in all religions and in Freemasonry; the frequent recurrence of the No. 3 throughout all ritualistic symbolism, is striking evidence of this. The Greek character Delta is formed as an equilateral triangle and from the sacredness attached to the form of the triangle, this character was always known as the Sacred Delta. The Egyptians called it the Sacred No. 3, a number of perfection. It was an object of worship among them as a symbol of the Grand Principle of animated existence which extends its influences throughout all created matter the three sides representing the animal, vegetable and mineral departments of nature.

 

To the Jews the triangle represented the three periods of existence: the past, present and future. To the Hindus: creation, preservation and renewal. To the Chinese: heaven, earth and water.

 

The flap of the apron when raised forms a triangle standing on a square. This was considered by the Egyptians as a most perfect figure because in the Egyptian ceremony of Initiation into their mysteries, the candidate, blindfolded and with a chain around his neck, is led by a brother to a door in the wall of the temple of the lodge-the door formed a triangle symbolising Heaven and square representing the area of the entrance on which he trod symbolised earth, thus the entrance symbolised passing from Earth to Heaven. The granite triangle in the king's chamber in the Great Pyramid is said to represent the triune God of the Egyptians.

 

The Fellowcraft Apron

 

www.flickr.com/search/?w=21728045@N08&q=Fellowcraft

 

The Fellowcraft Apron has the flap pointing down and indicates (1) That wisdom has begun to enter and therefore control matter, and (2) that the Soul and body are acting in unison. The two rosettes stress the dual nature of man and have a clear reference to the two Pillars. The two rosettes also point out that the Fellowcraft has not yet completed Freemasonry as it requires a third rosette to form a triangle. It is thought by some that the blue rozettes added to the Fellowcraft apron indicate the progress being made in the science of regeneration and that the candidate's spirituality is beginning to bud forth, also that the wilderness of the natural man is now blossoming as the rose, in the flowers and graces of his regenerated nature.

 

The Master Mason's Apron

 

The addition of the third rosette forms a triangle, pointing upwards. A triangle, point upwards, represents Fire or Divine Spark. It is the emblem of Shiva, the third member of the Hindu Trinity. It also represents spirit. The triangle of the flap and triangle of the rosettes form a square where they overlap. This square represents matter. Thus we have the union of Body (square), Soul (top triangle) and Spirit (lower triangle).

 

The Tassels

 

The apron was at first fastened by strings passed around the back and brought to the front, with the ends hanging down. It became the custom to decorate the ends with fringes, jewels, etc., but the introduction of elastic bands did away with that idea and the pendants were added as a sort of "in memoriam" to the departed strings. Later, the design of the tassels was made with a symbolic background.

 

www.flickr.com/photos/24924384@N00/179864556/in/photolist...

A tangible window in the chapel and an untouchable dream extends the space in an eighteenth century hallucinating dreamscape.

An allegory to religion.

  

2014 02 0296 Hampshire The Vyne HDR1

On a pleasant October day, Portland State University's anthropology department held a field trip to the Ridgefield Wildlife Refuge to see the Cathlapotle plankhouse and the site of Cathlapotle village.

 

Seen here is an artist's interpretation of what Cathlapotle Village might have looked like on that day in 1806 when Lewis and Clark visited it on their return journey to the East.

 

Long abandoned, the village was once a bustling riverside community. Lewis and Clark visited the village and recorded their experiences.

 

In the 1990s, the late Ken Ames, the dean of Oregon archaeologists, conducted excavations at the site together with other archaeologists and field students. Today, it is off limits and protected by fearsome stinging nettles. In any case, it's nothing much to look at. The village was deliberately abandoned, perhaps during the terrible malaria epidemic of 1833. The Chinook took everything of value with them. The thrill comes from listening to archaeologists' descriptions of the Chinook nation's way of life.

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ɬax̣awyam (welcome)

 

Since time immemorial Chinookan Peoples of the Lower Columbia River have tended to the oak woodlands, camas fields, and wapato patches of what we now call the Refuge, maintaining habitat for wildlife while supporting the lives of the people who called this place home.

 

Based on the Chinookan village of Cathlapotle, the Plankhouse and the objects inside of it offer a tangible link to these original stewards and provides a unique site for the interpretation of our region's natural and cultural heritage.

 

Built in partnership with the Chinook Indian Nation, Portland State University, The U.S. Fish & Wildlife Service, and numerous other community partners and volunteers.

 

This House serves as an education and interpretive center and is used by the Chinook Indian Nation for cultural events throughout the year. Visit the Cathlapotle Plankhouse and connect with local indigenous culture.

 

Visit The Plankhouse

Open Hours

Weekends May 4th – October 13th, 2019: 12pm – 4pm.

 

Self-Led tours of the Plank- house are NOT available.

 

Second Sunday Series

 

[In 2019], the Plankhouse hosts a series of presentations on Chinookan culture, archaeology, and natural history the Second Sunday of every month during the season. These events include lectures, hikes, and hands-on family activities. To view upcoming special events, please visit our events calendar.

ridgefieldfriends.org/plankhouse/

  

Photos by Permission of the Chinook Nation and the Ridgefield Wildlife Refuge.

Incense is aromatic biotic material which releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for a variety of purposes, including the ceremonies of religion, to overcome bad smells, repel insects, spirituality, aromatherapy, meditation, and for simple pleasure.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing diversity in the reasons for burning it. Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

HISTORY

The word incense comes from Latin for incendere meaning "to burn".

 

Combustible bouquets were used by the ancient Egyptians, who employed incense within both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, furnishing tangible archaeological substantiation to the prominence of incense and related compounds within Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.

 

The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.

 

Incense burners have been found in the Indus Civilization (3300 BCE- 1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the inherited formulation to encompass aromatic roots and other indigenous flora. This comprised the initial usage of subterranean plant parts within the fabrication of incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians for incense.

 

At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented instance of incense utilization comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, sandalwood, amongst others) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song Dynasty with numerous buildings erected specifically for incense ceremonies.

 

Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th century Shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whomever might take his head in battle). It wasn't until the Muromachi Era during the 15th and 16th century that incense appreciation (Kōdō) spread to the upper and middle classes of Japanese society.

 

COMPOSITION

A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.

 

The same could be said for the techniques used to make incense. Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, among them clergy and physicians who were both familiar with incense arts.

 

COMBUSTIBLE BASE

The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:

- Fuel and oxidizer mixtures: Charcoal or wood powder forms the fuel for the combustion. Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are combined into the base prior to formation as in the case of powdered incense materials or after formation as in the case of essential oils. The formula for the charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.

- Natural plant-based binders: Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. This includes:

- Makko (incense powder): made from the bark of various trees from the Persea such as Persea thunbergii)

- Xiangnan pi (made from the bark of Phoebe genus trees such as Phoebe nanmu, Persea zuihoensis.

- Jigit: a resin based binder used in India

- Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.

 

TYPES

Incense materials are available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types depending on use. Preference for one form or another varies with culture, tradition, and personal taste. Although the production of direct- and indirect-burning incense are both blended to produce a pleasant smell when burned, the two differ in their composition due to the former's requirement for even, stale, and sustained burning.

 

INDIRECT BURNING

Indirect-burning incense, also called "non-combustible incense", is a combination of aromatic ingredients that are not prepared in any particular way or encouraged into any particular form, leaving it mostly unsuitable for direct combustion. The use of this class of incense requires a separate heat source since it does not generally kindle a fire capable of burning itself and may not ignite at all under normal conditions. This incense can vary in the duration of its burning with the texture of the material. Finer ingredients tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually as they have less total surface area. The heat is traditionally provided by charcoal or glowing embers.

 

In the West, the best known incense materials of this type are frankincense and myrrh, likely due to their numerous mentions in the Christian Bible. In fact, the word for "frankincense" in many European languages also alludes to any form of incense.

 

- Whole: The incense material is burned directly in its raw unprocessed form on top of coal embers.

- Powdered or granulated: The incense material is broken down into finer bits. This incense burns quickly and provides a short period of intense smells.

- Paste: The powdered or granulated incense material is mixed with a sticky and incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type (Bakhoor actually refers to frankincense in Arabic) and Japan has a history of kneaded incense, called nerikō or awasekō, using this method.[17] Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.

 

DIRECT BURNING

Direct-burning incense also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn away the rest of the incense without continued application of heat or flame from an outside source. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types of direct-burning incense are commonly encountered, though the material itself can take virtually any form, according to expediency or whimsy:

 

- Coil: Extruded and shaped into a coil without a core. This type of incense is able to burn for an extended period, from hours to days, and is commonly produced and used by Chinese culture

- Cone: Incense in this form burns relatively fast. Incense cones were invented in Japan in the 1800s.

- Cored stick: This form of stick incense has a supporting core of bamboo. Higher quality varieties of this form have fragrant sandalwood cores. The core is coated by a thick layer of incense material that burns away with the core. This type of incense is commonly produced in India and China. When used for worship in Chinese folk religion, cored incensed sticks are sometimes known as "joss sticks".

- Solid stick: This stick incense has no supporting core and is completely made of incense material. Easily broken into pieces, it allows one to determine the specific amount of incense they wish to burn. This is the most commonly produced form of incense in Japan and Tibet.

- Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. They are typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.

- Paper: Paper infused with incense, folded accordion style, lit and blown out. Examples are Carta d'Armenia and Papier d'Arménie.

- Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is highly transportable and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.

 

The disks of powdered mugwort called 'moxa' sold in Chinese shops and herbalists are used in Traditional Chinese medicine for moxibustion treatment. Moxa tablets are not incenses; the treatment relies on heat rather than fragrance.

  

REED DIFFUSING

A reed diffuser is a form of incense that uses no heat. It comes in three parts: a bottle/container, scented essential incense oil, and bamboo reeds. The incense oil is placed into the container and bamboo reeds are then put into the same container. This is done to absorb some of the incense oil, as well as to help carry its scent and essence out of the container and into the surrounding air. Reeds typically have tiny tube openings that run the entire length of the stick. Oil is absorbed by the reed sticks and carried along the entire reed. These are do-it-yourself incense sticks that do not burn and look almost identical to typical incense sticks

 

PRODUCTION

INDIRECT BURNING

The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, are then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition are made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.

 

DIRECT BURNING

In order to obtain desired combustion qualities, attention has to be paid to certain proportions in direct burning incense mixtures:

 

- Oil content: Resinous materials such as myrrh and frankincense must not exceed the amount of dry materials in the mixture to such a degree that the incense will not smolder and burn.[citation needed] The higher the oil content relative to the dry mass, the less likely the mixture is to burn effectively.[citation needed] Typically the resinous or oily substances are balanced with "dry" materials such as wood, bark and leaf powders.

- Oxidizer quantity: The amount of chemical oxidizer in gum-bound incense must be carefully proportioned. If too little, the incense will not ignite, and if too much, the incense will burn too quickly and not produce fragrant smoke.

- Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.

- Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.

- Binder: Water-soluble binders such as "makko" have to be used in the right proportion to ensure that the incense mixture does not crumble when dry but also that the binder does not take up too much of the mixture.

 

Some kinds of direct-burning incense are created from "incense blanks" made of unscented combustible dust immersed into any suitable kind of essential or fragrance oil. These are often sold in America by flea-market and sidewalk vendors who have developed their own styles. Such items are often known as "dipped" or "hand-dipped" incense. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia, then simply scented with essential oils.

 

Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.

 

Traditionally, the bamboo cores of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. Through this process, known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and then continuously split in halves until thin sticks of bamboo with square cross sections of less than 3mm This process has been largely been replaced by machines in modern incense production.

 

In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:

 

- Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.

- Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are then evenly separated, then dipped into a tray of incense powder, consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the stick while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks that are burned in temples of Chinese folk religion produced in this fashion can have a thickness between 2 and 4 millimeters.

- Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more commonly found due to the higher labor cost of producing powder-coated or paste-rolled sticks.

 

JOSS STICKS

Joss sticks are the name given to incense sticks used for a variety of purposes associated with ritual and religious devotion in China and India. They are used in Chinese influenced East Asian and Southeast Asian countries, traditionally burned before the threshold of a home or business, before an image of a Chinese popular religion divinity or spirit of place, or in small and humble or large and elaborate shrine found at the main entrance to each and every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door, or open window as an offering to heaven, or devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.

 

Joss-stick burning is an everyday practice in traditional Chinese religion. There are many different types of joss sticks used for different purposes or on different festive days. Many of them are long and thin and are mostly colored yellow, red, and more rarely, black. Thick joss sticks are used for special ceremonies, such as funerals. Spiral joss sticks are also used on a regular basis, which are found hanging above temple ceilings, with burn times that are exceedingly long. In some states, such as Taiwan, Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon joss sticks are sometimes used. These generate such a massive amount of smoke and heat that they are only ever burned outside.

 

Chinese incense sticks for use in popular religion are generally without aroma or only the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum.[citation needed] Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Despite the fact that they contain no sandalwood at all, they often include the Chinese character for sandalwood on the label, as a generic term for incense.

 

Highly scented Chinese incense sticks are only used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, aloeswood, or floral scents used. The Sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, Buddhism in Sri Lanka, Buddhism in Burma and Korean Buddhism do not use incense.

 

BURNING INCENSE

For indirect-burning incense, pieces of the incense are burned by placing them directly on top of a heat source or on a hot metal plate in a censer or thurible.

 

In Japan a similar censer called a egōro (柄香炉?) is used by several Buddhist sects. The egōro is usually made of brass with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as Sonae-kō (Religious Burning).

 

For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. Flames on the incense are then fanned or blown out, with the incense continuing to burn without a flame on its own.

 

CULTURAL VARIATIONS

CHINESE INCENSE

For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life.

 

Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.

 

Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The poet Yu Jianwu (487-551) first recorded them: "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.

 

It is incorrect to assume that the Chinese only burn incense in the home before the family shrine. In Taoist traditions, incense is inextricably associated with the 'yin' energies of the dead, temples, shrines, and ghosts. Therefore, Taoist Chinese believe burning undedicated incense in the home attracts the dreaded hungry ghosts, who consume the smoke and ruin the fortunes of the family.

 

However, since Neolithic times, the Chinese have evolved using incense not only for religious ceremonies, but also for personal and environmental aromatherapy.

 

INDIAN INCENSE

Incense stick, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, is one of the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepal/Tibet and Japanese methods of stick making which don't use a bamboo core. Though the method is also used in the west, particularly in America, it is strongly associated with India.

 

The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder - an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India which take raw unperfumed sticks hand-rolled by approx 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale.[38] An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 main companies who together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Bangalore.

 

In the Middle East, incense burning has been along tradition. The word bukhur means incense in Arabic. The well known choice for incense is the famous agarwood which is very popular in Africa, the Gulf and amongst some south Asians, but there are many many more choices. Incense come in a variety of forms such as blocks, pieces, pellets, granules or powdered, which is placed in the oil burner called mabkharah for several minutes to heat either with coal in the traditional way or via power in the modern way, allowing it to release its rich smell. However this takes awhile and the quick alternative is to use incense sticks called Oud in Middle East and Africa, and agarbatti in south Asia - again referring to the agar wood + batti meaning some sort of agar-stick. Occasionally some get confused between bukhur and oud, bukhur is the insence ie agarwood, sandlewood etc and oud being the incense sticks (and not the otherway round sometimes wires get twisted)

 

JERUSALEM TEMPLE INCENSE

Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus as a mixture of stacte, onycha, galbanum and frankincense.

 

TIBETAN INCENSE

Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, or sahi jeera.

 

Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.

 

JAPANESE INCENSE

In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like Calligraphy, Ikebana, and Scroll Arrangement. However the art of incense appreciation or Koh-do, is generally practiced as a separate art form from the tea ceremony, however usually practiced within a tea room of traditional Zen design.

 

Agarwood (沈香　Jinkō) and sandalwood (白檀　Byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "Jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation.[citation needed] It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.

 

Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.

 

Some terms used in Japanese incense culture include:

 

- Incense Arts: [香道, Kodo]

- Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.

- Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning

- Charcoal: [木炭] – only the odorless kind is used.

- Incense woods: [ 香木 ] – a naturally fragrant resinous wood.

 

USAGE

Incense is used for a variety of purposes, including the ceremonies of all the main religions, to overcome bad smells, repel insects, purify or improve the atmosphere, aromatherapy, meditation, and for simple pleasure.

 

PRACTICAL

Incense fragrances can be of such great strength that they obscure other, less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. Another example of this use, as well as of religious use, is the giant Botafumeiro thurible which swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.

 

A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single, long handle on one side. It is important to note that the perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.

 

The regular burning of direct combustion incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve and captivate several of the senses.

 

Incense made from materials such as citronella can repel mosquitoes and other aggravating, distracting or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.

 

Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.

 

Incense is also used often by people who smoke indoors, and do not want the scent to linger.

 

AestheticMany people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the refined sensory experience. This use is perhaps best exemplified in the kōdō (香道?), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.ReligiousUse of incense in religion is prevalent in many cultures and may have their roots in the practical and aesthetic uses considering that many religions with not much else in common all use incense. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense [to ancestors/gods]), etc.

 

HEALTH

Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and absorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. The emission rate decreases in the row Indian sandalwood > Japanese aloeswood > Taiwanese aloeswood > smokeless sandalwood.

 

Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.

 

A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.

 

In contrast, a study by several Asian Cancer Research Centers showed: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified the findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."

 

Although several studies have not shown a link between incense and cancer of the lung, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also had higher rates of a type of cancer called squamous-cell carcinoma, which refers to tumors that arise in the cells lining the internal and external surfaces of the body. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."

 

In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters ovary cells to be even higher than cigarettes.

 

Frankincense has been shown to cause antidepressive behavior in mice. It activated the poorly understood ion channels in the brain to alleviate anxiety and depression.

 

WIKIPEDIA

La veritat és que aquesta cantant em va "enamorar"... millor encara , la cámara se'n va enamorar.

En aquesta imatge hi havia un munt de colors extranys dels reflectors i llums de l'escenari, per tant vaig pensar que en Blanc i Negre estaria prou bé. Estic ben content del resultat, tot i que, com sempre, no sé si és bona o no, però m'agrada.

És encara de la Festa Major del poble, de Salt, això ja fa, com diu el jovent, una eternitat, però per a mi, quan veig les fotos és com si hagués estat ahir. Una altra màgia que té la fotografia per a mi, fer del record un sentiment ben proper i tangible.

No en faig massa de B&N, però en coses i moments determinants m'agrada i em fa recordar els inicis amb els carrets a munt i avall que els revalavem com podíem i que no sempre queden bé, però que bé que ens ho passàvem. A més com que no tenia espai al pis ho compartia amb un colega i sempre deiem res un parell d'hores i prou... i començavem a les 3 de la tarda i si acabaven a les 3 de la matinada era un èxit. Erem joves, jejejeje.

En fi, no sé si en possaré més de la festa, però aquesta l'havia de possar... No creieu?.

Digital prints on metallic paper: original photos from he Department of Anthropology, National Museum of Natural History, Smithsonian institution, series of 70

 

[In]tangible Tangles (2021) is a series of found images of moccasins from the archives of the Smithsonian National Museum of Natural History’s anthropology department. The series began from pandemic scrolling through various museums’ archives, but these specific images grabbed her attention because the shoes are displayed with their soles facing the camera, instead of at an angle to show as much of the shoe as possible. “You really having this feeling there are bodies in them, like they’re lying down,” Myre said.

In addition to the visible wear and tear on the soles, the shoes are also photographed with tags stating their acquisition number and tribal affiliations. Some were acquired as early as the 1860s, while others are newer, having entered the museum’s holdings only a few decades ago. What the photographs don’t show is under what circumstances they were acquired. Many are shoes for children, reminding Myre of residential schools in both the US and Canada, which separated Indigenous children from their parents in order to assimilate them into the culture of their colonizers and have them forgot their cultural traditions and languages. Often, the children were routinely abused; many were killed there.

Digital prints on metallic paper: original photos from he Department of Anthropology, National Museum of Natural History, Smithsonian institution, series of 70

 

[In]tangible Tangles (2021) is a series of found images of moccasins from the archives of the Smithsonian National Museum of Natural History’s anthropology department. The series began from pandemic scrolling through various museums’ archives, but these specific images grabbed her attention because the shoes are displayed with their soles facing the camera, instead of at an angle to show as much of the shoe as possible. “You really having this feeling there are bodies in them, like they’re lying down,” Myre said.

In addition to the visible wear and tear on the soles, the shoes are also photographed with tags stating their acquisition number and tribal affiliations. Some were acquired as early as the 1860s, while others are newer, having entered the museum’s holdings only a few decades ago. What the photographs don’t show is under what circumstances they were acquired. Many are shoes for children, reminding Myre of residential schools in both the US and Canada, which separated Indigenous children from their parents in order to assimilate them into the culture of their colonizers and have them forgot their cultural traditions and languages. Often, the children were routinely abused; many were killed there.

We made this table made of LED tiles.

lil heron in the distance if u zoom

purging thoughts into words into characters on a screen is tiring me out because my brain just isn't what it used to be

Incense is aromatic biotic material which releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for a variety of purposes, including the ceremonies of religion, to overcome bad smells, repel insects, spirituality, aromatherapy, meditation, and for simple pleasure.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing diversity in the reasons for burning it. Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

HISTORY

The word incense comes from Latin for incendere meaning "to burn".

 

Combustible bouquets were used by the ancient Egyptians, who employed incense within both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, furnishing tangible archaeological substantiation to the prominence of incense and related compounds within Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.

 

The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.

 

Incense burners have been found in the Indus Civilization (3300 BCE- 1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the inherited formulation to encompass aromatic roots and other indigenous flora. This comprised the initial usage of subterranean plant parts within the fabrication of incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians for incense.

 

At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented instance of incense utilization comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, sandalwood, amongst others) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song Dynasty with numerous buildings erected specifically for incense ceremonies.

 

Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th century Shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whomever might take his head in battle). It wasn't until the Muromachi Era during the 15th and 16th century that incense appreciation (Kōdō) spread to the upper and middle classes of Japanese society.

 

COMPOSITION

A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.

 

The same could be said for the techniques used to make incense. Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, among them clergy and physicians who were both familiar with incense arts.

 

COMBUSTIBLE BASE

The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:

- Fuel and oxidizer mixtures: Charcoal or wood powder forms the fuel for the combustion. Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are combined into the base prior to formation as in the case of powdered incense materials or after formation as in the case of essential oils. The formula for the charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.

- Natural plant-based binders: Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. This includes:

- Makko (incense powder): made from the bark of various trees from the Persea such as Persea thunbergii)

- Xiangnan pi (made from the bark of Phoebe genus trees such as Phoebe nanmu, Persea zuihoensis.

- Jigit: a resin based binder used in India

- Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.

 

TYPES

Incense materials are available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types depending on use. Preference for one form or another varies with culture, tradition, and personal taste. Although the production of direct- and indirect-burning incense are both blended to produce a pleasant smell when burned, the two differ in their composition due to the former's requirement for even, stale, and sustained burning.

 

INDIRECT BURNING

Indirect-burning incense, also called "non-combustible incense", is a combination of aromatic ingredients that are not prepared in any particular way or encouraged into any particular form, leaving it mostly unsuitable for direct combustion. The use of this class of incense requires a separate heat source since it does not generally kindle a fire capable of burning itself and may not ignite at all under normal conditions. This incense can vary in the duration of its burning with the texture of the material. Finer ingredients tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually as they have less total surface area. The heat is traditionally provided by charcoal or glowing embers.

 

In the West, the best known incense materials of this type are frankincense and myrrh, likely due to their numerous mentions in the Christian Bible. In fact, the word for "frankincense" in many European languages also alludes to any form of incense.

 

- Whole: The incense material is burned directly in its raw unprocessed form on top of coal embers.

- Powdered or granulated: The incense material is broken down into finer bits. This incense burns quickly and provides a short period of intense smells.

- Paste: The powdered or granulated incense material is mixed with a sticky and incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type (Bakhoor actually refers to frankincense in Arabic) and Japan has a history of kneaded incense, called nerikō or awasekō, using this method.[17] Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.

 

DIRECT BURNING

Direct-burning incense also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn away the rest of the incense without continued application of heat or flame from an outside source. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types of direct-burning incense are commonly encountered, though the material itself can take virtually any form, according to expediency or whimsy:

 

- Coil: Extruded and shaped into a coil without a core. This type of incense is able to burn for an extended period, from hours to days, and is commonly produced and used by Chinese culture

- Cone: Incense in this form burns relatively fast. Incense cones were invented in Japan in the 1800s.

- Cored stick: This form of stick incense has a supporting core of bamboo. Higher quality varieties of this form have fragrant sandalwood cores. The core is coated by a thick layer of incense material that burns away with the core. This type of incense is commonly produced in India and China. When used for worship in Chinese folk religion, cored incensed sticks are sometimes known as "joss sticks".

- Solid stick: This stick incense has no supporting core and is completely made of incense material. Easily broken into pieces, it allows one to determine the specific amount of incense they wish to burn. This is the most commonly produced form of incense in Japan and Tibet.

- Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. They are typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.

- Paper: Paper infused with incense, folded accordion style, lit and blown out. Examples are Carta d'Armenia and Papier d'Arménie.

- Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is highly transportable and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.

 

The disks of powdered mugwort called 'moxa' sold in Chinese shops and herbalists are used in Traditional Chinese medicine for moxibustion treatment. Moxa tablets are not incenses; the treatment relies on heat rather than fragrance.

  

REED DIFFUSING

A reed diffuser is a form of incense that uses no heat. It comes in three parts: a bottle/container, scented essential incense oil, and bamboo reeds. The incense oil is placed into the container and bamboo reeds are then put into the same container. This is done to absorb some of the incense oil, as well as to help carry its scent and essence out of the container and into the surrounding air. Reeds typically have tiny tube openings that run the entire length of the stick. Oil is absorbed by the reed sticks and carried along the entire reed. These are do-it-yourself incense sticks that do not burn and look almost identical to typical incense sticks

 

PRODUCTION

INDIRECT BURNING

The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, are then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition are made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.

 

DIRECT BURNING

In order to obtain desired combustion qualities, attention has to be paid to certain proportions in direct burning incense mixtures:

 

- Oil content: Resinous materials such as myrrh and frankincense must not exceed the amount of dry materials in the mixture to such a degree that the incense will not smolder and burn.[citation needed] The higher the oil content relative to the dry mass, the less likely the mixture is to burn effectively.[citation needed] Typically the resinous or oily substances are balanced with "dry" materials such as wood, bark and leaf powders.

- Oxidizer quantity: The amount of chemical oxidizer in gum-bound incense must be carefully proportioned. If too little, the incense will not ignite, and if too much, the incense will burn too quickly and not produce fragrant smoke.

- Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.

- Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.

- Binder: Water-soluble binders such as "makko" have to be used in the right proportion to ensure that the incense mixture does not crumble when dry but also that the binder does not take up too much of the mixture.

 

Some kinds of direct-burning incense are created from "incense blanks" made of unscented combustible dust immersed into any suitable kind of essential or fragrance oil. These are often sold in America by flea-market and sidewalk vendors who have developed their own styles. Such items are often known as "dipped" or "hand-dipped" incense. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia, then simply scented with essential oils.

 

Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.

 

Traditionally, the bamboo cores of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. Through this process, known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and then continuously split in halves until thin sticks of bamboo with square cross sections of less than 3mm This process has been largely been replaced by machines in modern incense production.

 

In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:

 

- Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.

- Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are then evenly separated, then dipped into a tray of incense powder, consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the stick while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks that are burned in temples of Chinese folk religion produced in this fashion can have a thickness between 2 and 4 millimeters.

- Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more commonly found due to the higher labor cost of producing powder-coated or paste-rolled sticks.

 

JOSS STICKS

Joss sticks are the name given to incense sticks used for a variety of purposes associated with ritual and religious devotion in China and India. They are used in Chinese influenced East Asian and Southeast Asian countries, traditionally burned before the threshold of a home or business, before an image of a Chinese popular religion divinity or spirit of place, or in small and humble or large and elaborate shrine found at the main entrance to each and every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door, or open window as an offering to heaven, or devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.

 

Joss-stick burning is an everyday practice in traditional Chinese religion. There are many different types of joss sticks used for different purposes or on different festive days. Many of them are long and thin and are mostly colored yellow, red, and more rarely, black. Thick joss sticks are used for special ceremonies, such as funerals. Spiral joss sticks are also used on a regular basis, which are found hanging above temple ceilings, with burn times that are exceedingly long. In some states, such as Taiwan, Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon joss sticks are sometimes used. These generate such a massive amount of smoke and heat that they are only ever burned outside.

 

Chinese incense sticks for use in popular religion are generally without aroma or only the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum.[citation needed] Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Despite the fact that they contain no sandalwood at all, they often include the Chinese character for sandalwood on the label, as a generic term for incense.

 

Highly scented Chinese incense sticks are only used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, aloeswood, or floral scents used. The Sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, Buddhism in Sri Lanka, Buddhism in Burma and Korean Buddhism do not use incense.

 

BURNING INCENSE

For indirect-burning incense, pieces of the incense are burned by placing them directly on top of a heat source or on a hot metal plate in a censer or thurible.

 

In Japan a similar censer called a egōro (柄香炉?) is used by several Buddhist sects. The egōro is usually made of brass with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as Sonae-kō (Religious Burning).

 

For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. Flames on the incense are then fanned or blown out, with the incense continuing to burn without a flame on its own.

 

CULTURAL VARIATIONS

CHINESE INCENSE

For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life.

 

Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.

 

Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The poet Yu Jianwu (487-551) first recorded them: "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.

 

It is incorrect to assume that the Chinese only burn incense in the home before the family shrine. In Taoist traditions, incense is inextricably associated with the 'yin' energies of the dead, temples, shrines, and ghosts. Therefore, Taoist Chinese believe burning undedicated incense in the home attracts the dreaded hungry ghosts, who consume the smoke and ruin the fortunes of the family.

 

However, since Neolithic times, the Chinese have evolved using incense not only for religious ceremonies, but also for personal and environmental aromatherapy.

 

INDIAN INCENSE

Incense stick, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, is one of the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepal/Tibet and Japanese methods of stick making which don't use a bamboo core. Though the method is also used in the west, particularly in America, it is strongly associated with India.

 

The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder - an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India which take raw unperfumed sticks hand-rolled by approx 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale.[38] An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 main companies who together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Bangalore.

 

In the Middle East, incense burning has been along tradition. The word bukhur means incense in Arabic. The well known choice for incense is the famous agarwood which is very popular in Africa, the Gulf and amongst some south Asians, but there are many many more choices. Incense come in a variety of forms such as blocks, pieces, pellets, granules or powdered, which is placed in the oil burner called mabkharah for several minutes to heat either with coal in the traditional way or via power in the modern way, allowing it to release its rich smell. However this takes awhile and the quick alternative is to use incense sticks called Oud in Middle East and Africa, and agarbatti in south Asia - again referring to the agar wood + batti meaning some sort of agar-stick. Occasionally some get confused between bukhur and oud, bukhur is the insence ie agarwood, sandlewood etc and oud being the incense sticks (and not the otherway round sometimes wires get twisted)

 

JERUSALEM TEMPLE INCENSE

Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus as a mixture of stacte, onycha, galbanum and frankincense.

 

TIBETAN INCENSE

Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, or sahi jeera.

 

Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.

 

JAPANESE INCENSE

In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like Calligraphy, Ikebana, and Scroll Arrangement. However the art of incense appreciation or Koh-do, is generally practiced as a separate art form from the tea ceremony, however usually practiced within a tea room of traditional Zen design.

 

Agarwood (沈香　Jinkō) and sandalwood (白檀　Byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "Jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation.[citation needed] It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.

 

Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.

 

Some terms used in Japanese incense culture include:

 

- Incense Arts: [香道, Kodo]

- Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.

- Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning

- Charcoal: [木炭] – only the odorless kind is used.

- Incense woods: [ 香木 ] – a naturally fragrant resinous wood.

 

USAGE

Incense is used for a variety of purposes, including the ceremonies of all the main religions, to overcome bad smells, repel insects, purify or improve the atmosphere, aromatherapy, meditation, and for simple pleasure.

 

PRACTICAL

Incense fragrances can be of such great strength that they obscure other, less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. Another example of this use, as well as of religious use, is the giant Botafumeiro thurible which swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.

 

A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single, long handle on one side. It is important to note that the perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.

 

The regular burning of direct combustion incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve and captivate several of the senses.

 

Incense made from materials such as citronella can repel mosquitoes and other aggravating, distracting or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.

 

Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.

 

Incense is also used often by people who smoke indoors, and do not want the scent to linger.

 

AestheticMany people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the refined sensory experience. This use is perhaps best exemplified in the kōdō (香道?), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.ReligiousUse of incense in religion is prevalent in many cultures and may have their roots in the practical and aesthetic uses considering that many religions with not much else in common all use incense. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense [to ancestors/gods]), etc.

 

HEALTH

Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and absorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. The emission rate decreases in the row Indian sandalwood > Japanese aloeswood > Taiwanese aloeswood > smokeless sandalwood.

 

Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.

 

A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.

 

In contrast, a study by several Asian Cancer Research Centers showed: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified the findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."

 

Although several studies have not shown a link between incense and cancer of the lung, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also had higher rates of a type of cancer called squamous-cell carcinoma, which refers to tumors that arise in the cells lining the internal and external surfaces of the body. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."

 

In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters ovary cells to be even higher than cigarettes.

 

Frankincense has been shown to cause antidepressive behavior in mice. It activated the poorly understood ion channels in the brain to alleviate anxiety and depression.

 

WIKIPEDIA

april 2014

 

making memories - passion for printing

tangible time capsules

 

www.xantheberkeley.com/creating-tangible-time-capsules/

In the study of the universe, light is the one of the main sources of information accessible to us. Using satellites and telescopes, we collect the light of astronomical objects. First, each object appears as a single cloud of light. In the closer analysis of light, we recognize its nature and can distinguish stars from galaxies. In the virtual environment, numerical satellite data is translated into light sculptures and light is made tangible by haptic stimuli.

 

Credit: Annika Kreikenbohm

5/14/24

Alice: Madness Returns, SweetFX,3072x1285

Collage 2013

The Dynamic Desktop will change the way the people work. For the first time, tangible objects can be used to interact on a project capacitive touch screen. These objects can unlock new features, transfer files, share media and add secondary layers of interaction to the desktop. All interactions performed in this video were conducted with real objects on an Ideum multitouch table with a standard 46" 3M MultiTouch screen. This experimental software is being developed by Ideum as part of the Gestureworks Core SDK. Learn more at www.ideum.com and gestureworks.com

!!

!!

\/

W WIND energy, direction movement, windspeed

 

------------- >>> direction of movement, speed,

perpendicular on the wind, flat on the wind

 

.

.

...... .

.

.... .

... .

.

.

!._ Tangible, actual,

speed, Pythagoras, cause of _!_ the right angle.

  

The blades -rotors- are at their ends mantled by a ring. The ring is born within wheels in the housing. Because turbo wind mills use high winds, this mantle piece can be placed at/near the ground, so that there is no significant vibrating occurring at the ends of the blades.

 

In order to use high winds, the blades have to be hold firmly in place, leaving only the opportunity open for the blades to turn, or to move, perpendicular on the winds direction with as a consequence that Pythagoras' law comes in as foundation to calculate the angle of attack in the blades. Further on, one will see that windsurfing is riding waves, and waves are swept by the wind, so that wave riding is falling with sailing half wind. Perfect.

 

High speed, directed perpendicular on the wind, leads also to the fact that a given sail area will be used optimally. And because cavitation, air bubbles around the swords, are restricting the windsurfers speed, spailboat has wheels for swords. You, as reader, have to take it from here, because I can not force you to swallow dry food. Please, take one step at the time. To get started, you firstly need to understand that when a plate is placed flat -perpendicular- on the wind, there is maximum blockage of the wind by that plate. Now, we imaginary move this plate with for instance 300 m/s in the direction flat on the wind. No we'll see that the actual wind speed that hits the blade, S, is to be calculated by Pathagoras' law, S^2 =W^2+V^2, in where, V, is the speed of the blade perpendicular on the winds' direction and W is the windspeed. If now the original windspeed is very low, say, 1 m/s, than we might as well assume that the actual windspeed that hits the blade is still 300 m/s. In other words, when an almost flat on the wind positioned blade is moving with very high speed, perpendicular on the original wind direction, then the actual windspeed that hits the blades, comes almost from the front. A blade end of a windmill turns faster then that blade does near the center, so that blade ends are alomost positioned flat on the wind. The same counts for windsurfsails, although the sails are hold almost flat on the wind, the actual windflow that hits the sails is coming more or less from the front. This means that we want high speed, in order to get maximum conversion of a given sail area. high speed imply high lift forces, and therefore we need stable and srong configurations that hold the blades.

 

I worked on stable sailing machines for twenty years now, because the capsizing and the catapulting with my catamaran scared the ........ out off me. Oh, I sailed from six years old, and won in 1988 the second biggest cat race in the world, together with my nephew, Ruud Goudriaan, who still is a class-A cat sailor. I went to college, and later to the technical university in Delft, and therefore I sold my cat, but continued windsurfing on cheap gear. However, windsurfing on old wave boards with old gear is still going much faster than the fastest cat. I kept on wondering why and when I figured it out [in 1994], I started to create a mechanically operated windsurf boat.

 

Sailing and windsurfing are very much like music, a well written song can be played live on stage over and over again, and every time this song improves itself. I can only ensure you, that the windsurf formula is an outstanding song, in the way to speak. Everything comes together, with as result that the windy circumstances on earth are perfect to use sails, wings, for making axles spin, as well on the oceans, by means of windsurfing -a combination of surfing and sailing stable half wind-, as on land, by means of using turbo windmills.

 

The only limitations in using the high winds are now caused by preoccupation of the existing economy. For instance, the car industries, the airplane industries, wind turbine industries, sailing boats industries, et cetera, keep our engineers in hostage. If we only could stop the production and the developing of the car making, airplane making et cetera, for just one week, and bring this way all the engineers to one imaginary table then the formula of windsurfing is understood. Once the leading engineers understand the windsurf formula, then the building of the prototypes is a year away. Some floors of the car industries and the airplanes industries can make room for new production lines.

 

And to make an even bigger example. When the second world war broke out, suddenly all floors of the car industries and airplane industries were making room for the production of tanks, jeeps, fighter planes, bombers et cetera. So, it is just a matter of priorities.

 

By now, saving this planet is priority number one, and still all industries and all governments around the world do not see the windsurf formula. Even a child can see that windsurfing is sensational. Just look at windsurfing from above. The waves make pipelines, and the only safe course in high winds falls parrallel with them. These pipelines lay, notably per definition, perpendicular on the wind's direction and windsurfing is always done half wind, so that the windsurfers automatically go as fast as possible and have a relatively save ride between the waves. All in all, the windsurf formula implies that a given sail area is optimally used, that the waves are helping in making speed, that the half wind course is always leading to gliding along with the waves, that windsurfing is therefore relatively safe, that a stable configuration is the condition to make big structures, so that former dangerous windy circumstances at open ocean are just perfect to move a significant amount of mass with high speed. The kinetic energy is measured by the formula: 1/2 times the mass of the composition times the square of the speed. This world is dying for energy. So, please, understand the windsurf formula and please make Spailboats for over water, and turbo wind mills for on land.

I mean, did you ever see a professor of 60 years old windsurfing on large wave with 10 bft at open sea? No, that is the problem. These kind of persons rule the world.

 

Just go on the internet, and see for yourself that the formula, for calculating the maximum sailing speed, is still only counting for non flying sailing boats. This means that they assume that the hull is still always dragging through water. For the cavitation speed they still assume always that a sword is not moving with respect to the hull. In Spailboats, on the other hand, the water cutting part of a sword does move along with respect to the hull, so that the speed of the hull and the speed of through water dragging sword have two different values. Here in Holland at the university of Delft, a leading professor -who works on his own sailing boat, off course-, once tolded me in person any kind of sailing boat could never overtop the 100km/hr barrier because of cavitation around the swords. I came to him, one of those appointments, to tell him about the flying above the water and the reason for using circel shaped spinning swords, to overcome cavitation around the water cutting profile of the sword wheels. I walked through the door, showed him my work, and in stead letting me talk about my work, he did not look at my work at all. He talked for half an hour, and by the time he finished, I wanted to reply, but then he said, your time is up, leave, please. I have tried to make another appointment, but in vain. A few months later, he had a full page in one of Holand's main newspapers, the saturday edition, in where he presented his own sailing boat. The public was misled. This sailing boat was so-called state of the art, but, it did not fly, it did still capsize, it could not operate in high seas, people, it was a worthless piece of ....... . So, I came in, and he asked, what did you study,? I said: civil engineering, and that answer was appearently wrong, because he worked at the aircraft and space department. Piramids, remember, people, we still build them. The only thing that matters, is that I am a good sailor and windsurfer , and that I made windsurf robot. Even if I did not have any masters degree at the technical university at all, he should have asked me what my work was, and not what my title was. This story goes on, because before I talked to him, the boss so to speak, I had several meetings with his students and they were impressed. But at the moment they found out that I was working outside the universtiy they boycoted me, right away. I had to give earlier given nice 3D pictures of wings back, and also my usb stick with several drawings had to be erased. Since then I am not welcome anymore. My own professor, Marcel Donze, then always brings calm to me, with this: Who would be the worst enemy of the Pope? Jezus Christ. No rank and bare footed, and closer to God as him.

   

I am closer to the wind, that is the point

  

It is therefore that these two new inventions fall under: the environmental revolution.

 

We, the hard working people, can easily see that windsurfing goes faster than the good old sailing boats. And still, billions and billions are spend on sailing boats for the happy few, like the rich men's toys for the Volvo Ocean Race, America's cup, the immense yachts et cetera. The same thing counts for the swallowing up of our best engineers for the car industries, formula 1 racing, jet fighter plane making et cetera.

 

If only the engineers and the people who rule the world want to save this planet, then the prototypes of the turbo windmills and the spailboats will be operating within a year.

 

In the past seven years I really tried endlessly to talk with professors around the world. They are just not at home. On the phone it goes like this. Who are you? What did you study, and I say, civil engineering. Oh, that has nothing to do with planes and/or mills, we are not interested.

 

Off course, I do not talk like them, every error in the conversation means the final cut of the conversation and once such a door is closed, it never opens again.

 

So, you as reader will never read or hear about windsurf machines and turbo windmills that can save the planet, other than this slide show.

 

I was a good cat sailor and a good windsurfer in the eighties. From childhood on I was at sea. Above that fact, I was born in Zaandam, the place where a cluster of windmills is stacked in an open air museum. I had the kite surfing formula on the drawing board, long before it took off, because the kites are hold just the same as windsurf sails are hold, only now on wires and further away from the board. In fact, I actually kite surfed on a small wooden plank on the beach in the eighties of the past century when I was ten years old. My nephews tried it, but were to heavy, and logically, I had to try. And it worked. Kite surfing is nothing more than using a big kite to move yourself. So, who do you want to believe, me, or the universities?

 

Get úp, stand up, get up for your right. Bob Marley. He believed that music unites all people one day. Wind sounds like music, doesn't it? No more nuclear power, no more burning fossil fuels.

 

Turbo windmill, or Jet Wind Mill [JWM] / JWM is a nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.

 

Stability: only when stability is firstly established, then a structure might be built tall. A sailing boat might be made endlessly strong, still, it capsizes, so that it is useless to make endlessly strong masts. A Spailboat however is stable, and therefore a Spailboat can be made big, very big, as big oceanliners, with 100 meter long masts. This is part of the windsurf formula. And remember, mass in motion implies the kinetic energy.

 

We need energy. For making fresh drinking water, for irrigation, for making electricity, making hydrogen, for moving cars, trains, planes and so on.

 

The windsurf formula is here, for everyone to use in the world, because I dropped my patents. It is free, for you, Africa, Asia, Amerika, Europe, the south pacific continents and islands. Just have a look and run this show a few times. It is like the wheel itself, it is normal, revolutionary and it will change the world. No nuclear power is needed any longer, just usage of high winds and swell on the oceans. And the turbo windmill is spin off, because these blades are in fact circular moving steady in positioned hold windsurfsails.

 

Belangrijke achtergrond informatie: Prof. Michel van Tooren, TUDelft L&R, heeft een composiet ontwikkeld dat niet meer vermoeit. Vliegtuigvleugels kunnen dan duizenden jaren meegaan. Tot nu was hout het enige materiaal dat niet vermoeit, en dat blijkt ook wel uit de balken in de molenwieken. Hout is dus feitelijk het beste constructiemateriaal ter wereld voor vleugels en molenwiekbalken, omdat een houten plank van twee duizend jaar geleden nog even goed is als een plank van nu, mits goed geconserveerd natuurlijk! Zoals u bekend is heeft staal een elastisch vervorminggebied en een plastisch vervorminggebied. Door de onvermijdelijke dislocaties in de staalroosters is plastische vervorming niet tegen te gaan, hoe zuiver het staal ook mag zijn. Is staal eenmaal ergens plastisch vervormd dan geldt dat dit permanent is en niet meer is terug te draaien. Na verloop van tijd komen er steeds meer plekken in het staal waar het plastisch is vervormd en op een gegeven moment spreekt men van vermoeiing, leidende tot breuk. Het gevaar van alle vliegtuigen is natuurlijk dat de vleugels een keer afbreken, alleen weet niemand wanneer dat gebeurt, maar dat het gaat gebeuren is een feit.

 

Er is zodoende al een mogelijkheid om gebruik te maken van dit nieuwe materiaal voor de vleugels, rotorbladen, masten en rompen. De projecten betreffen immers duurzame energie en met het eenmalig vastleggen van de olie als basis van het nieuwe composiet, behoeven de windsurfboten en de turbo windmolens in de toekomst maar een keer te worden gebouwd.

 

Het doel van de projecten is om het te gebruiken windraam voor de opwekking van energie op te rekken, van 8 bft naar 12 bft. Vanzelf worden dan de arctische zones geschikte gebieden voor toekomstige windmolenparken. De arctische zones worden op een analoge wijze benut, zoals de zee wordt benut door respectievelijk zeilers en windsurfers. De zeilers opereren namelijk van windkracht 2 bft tot aan windkracht 7 a 8 bft en gaan zo snel als mogelijk naar binnen als het gaat stormen, terwijl de [geoefende] windsurfers beginnen bij windkracht 5 bft en pas van het water af gaan bij 11bft! Samen bestrijken zij een windraam van 2 bft tot 11 bft. Windmolenparken nabij de arctische zones, almede windmolenparken in onze Noordzee, gebruiken dan, net als we nu al doen, conventionele windturbines tot aan 8 bft. De nieuwe turbo windmolens springen in bij windkracht 5 bft, waardoor in het overlap-gebied, van 5 bft tot 8 bft, zowel de conventionele windturbines als de nieuw turbo windmolens hun werk doen. Boven de windkracht 8 bft gaan de gewone windturbines uit en draaien de de turbo's nog even door tot aan 11bft. In de arctische zones waait het drie maanden per jaar harder dan 8 bft en over de Noordzee ongeveer een maand per jaar.

 

De formule voor de maat van de windenergie, in Watts: C=0,5*rho(lucht)*A*W^3, waarin A het oppervlak is van het bestreken gebied van de rotorbladen, W de windsnelheid is en C de Windenergie is in Watts [en rho de dichtheid is van lucht 1.23 Kg/m^3] zodat verdubbeling van de te gebruiken wind een verachtvoudiging oplevert van het aantal op te wekken Watts. Die extra drie maanden storm nabij de arctische zones en die extra maand storm over onze Noordzee leveren dus enorme hoeveelheden anders onbenutte windenergie.

 

Nu openen zich de mogelijkheden. Neem bv Chicago, the windy city. Als men daar op elk nieuw te bouwen gebouw gewone windturbines en turbo windmolens plaatst, dan is er een trefzekerheid in de benutting van de wind van 250 dagen per jaar.

 

Verder, voor het maken van waterstof is energie nodig. Er kan dus al in Chicago en nabij de arctische zones 250 dagen per jaar waterstof worden gemaakt door windkracht. Tot nu had het geen zin om alleen gewone windturbines te plaatsen in respectievelijk Chicago en nabij de arctische zones, juist omdat het er drie maanden per jaar stormt en de gewone windturbines dan uit moeten.

 

Het wordt allemaal anders als men naast gewone windturbines turbo windmolens opstelt.

 

Hetzelfde geldt voor de benutting van de wind en golven op open water. Alleen zeilboten laten varen, welke bladen van turbines [tbv opwekking van elektriciteit] door het water slepen, heeft weinig zin. Als het significant gaat waaien, dan moeten ze oploeven en dat schiet niet op. Gang wordt alleen gemaakt in de halve windse koers en dat gaat nu eenmaal niet met zeilboten omdat ze dan over de kop slaan, een overtreffende trap van kapseizen. Windsurfers kunnen feitelijk alleen halve wind koersen en gaan met een noodgang. Bovendien valt de halve windse koers altijd samen met de golffronten, zodat windsurfers keurig onder invloed van een en dezelfde golf [kunnen] blijven.

 

Ook nu geldt dat een vloot bestaande uit gewone zeilboten en windsurfboten een windraam kunnen bestrijken van 2 tot 11bft. Ook dan kunnen we 250 per jaar de wind gebruiken om waterstof te genereren.

 

Kortom, als het windraam wordt verruimd, dan wordt daarmee ook vanzelf het te bestrijken gebied groter, en vanzelf komen dan de arctische zones dichterbij als onuitputtelijke energiebron.

 

Dan nog dit, niet onbelangrijk. De industriële revolutie heeft geleid tot global warming. Global warming heeft de wind overal ter wereld doen toenemen. Daarnaast zijn er meer en furieuzere orkanen en tropische stormen. Bovendien zijn de golven op zee als gevolg hoger geworden. Windsurfboten gebruiken golven en wind. Als we nu de toegenomen wind en de hogere golven niet gaan benutten en doorgaan met het verbrande kolen, gas en olie en daarna overgaan op kernenergie dan is de aanmaak van de harde wind en de hogere golven op zee allemaal voor niets geweest. Maw, we kunnen nu de nare bijsmaak van de industriele revolutie in ons voordeel laten werken. Bovendien kan de kap van oerbossen stoppen, omdat we met olie producten kunnen bouwen; die olie is immers vrij gekomen als bouwmiddel, want we hebben waterstof, omdat we van de harde wind en van de hoge golven nabij de arctische zones gebruik kunnen maken. Ook kan men met grote transportmiddelen, gemaakt van plastic, aangedreven door grote waterstof motoren de door de zon gemaakte waterstof vervoeren door de woestijnen.

 

De aarde stikt, de lage landen overstromen en er komt binnen 100 jaar een kernoorlog, omdat elk landje dan intussen een kernbom heeft.

 

Als we ingrijpen, met een alternatief tegen het verbranden van de olie, kolen en gas en tegen het gebruik van kernenergie, dan kunnen we spreken dat het maar goed is dat we de wind en de golven hebben te doen toenemen.

Dat is pure energie, voor het oprapen.

 

Het nieuwe composiet van Michel van Tooren, de hardere wind en de hogere golven maken een combinatie die energie kan leveren on demand. Dit was de reden dat de stoommachine de windmolens en de zeilboten van het toneel deden verdwijnen.

 

De kern / samenvatting: De voorwaarde om de olie vrij te maken als bouwmateriaal [carbonfibers / composieten -zie verder-] is om alternatieve brandstoffen te creëereen, en dan brandstoffen met nul schadelijke emissies [biobrandstof valt dan ook af, temeer omdat de velden voor de biomassa dan vrij komen om bv graan te verbouwen]. Die alternatieve brandstoffen zijn waterstof, stikstof en geperste gassen [zie verder].

Vervolgens denken we dat waterstof te duur is om te maken en dat komt weer doordat we niet van de harde wind gebruik kunnen maken en omdat het transport van de door de zon opgewerkte waterstof door de woestijnen naar de steden met de huidige transportmiddelen en verbrandingsmotoren op olie geen optie is. De cirkel bijt zich nu in de staart. Want er kan wel van harde wind gebruik worden gemaakt: er kan wel degelijk nabij de arctische zones 300 dagen per jaar waterstof worden gemaakt uit windenergie, omdat de nieuwe generatie turbo windmolens en windsurfboten geen moeite hebben met storm.

Tot nu was benutting van de arctische zones geen optie, omdat de gewone windturbines daar stuk waaien en omdat gewone zeilboten daar omslaan.

Na de zeilboten en de windmolens kwam immers de stoommachine, en daarna de kolengestookte en gas gestookte elektriciteitcentrales en sinds enkele decennia kernenergie. Het is toch logisch dat we niet met dingen van meer dan 1000 jaar geleden kunnen wedijveren tegen kernenergie? Het is toch logisch dat we via de windsurfers, die wel tot 11bft overeind blijven, naar turbo windmolens en windsurfboten moeten overgaan om een vuist te maken tegen kernenergie.

Waar ik naar streef is het vastleggen van de olie, zodat er geen verbranding meer is van dit dure bouwmiddel.

En, als de olie wordt gebruikt als bouwmiddel, dan kan de olieproductie de komende vijftig jaar gewoon doorgaan; terwijl we de kap van de tropische bossen tbv van het hardhout langzamerhand kunnen laten! Ook kan er ontspanning komen in de ontginning van andere belangrijke grondstoffen, als ijzererts [voor staal] en kolen [voor elektriciteit].

Daar wind met de windturbines, turbo windmolens en windsurfboten kan worden omgezet in waterstof, stikstof en geperste gassen kunnen de toekomstige motoren -welke ook uit composiet kunnen bestaan, met eventueel metaal coating bij de glijvlakken- draaien op die gassen.

Vooralsnog was het grootschalig gebruik van olie als bouwmiddel geen optie, omdat staal, beton en hout goedkoper zijn.

Dit verandert als we andere verbrandingsmiddelen hebben dan olie. Waterstof is vooralsnog te duur, omdat:

1: er geen transportmiddelen zijn om de waterstof in grote hoeveelheden te vervoeren.

2: er geen middelen zijn om van harde wind gebruik te maken. Het "zuchtje" wind, nabij bewoonde wereld, dat we tot nu toe gebruiken levert hooguit een bijdrage van 5 tot 20%. Dit "zuchtje" is bovendien niet voorspelbaar, niet constant aanwezig en daarbovenop ook nog eens niet te gebruiken als het zuchtje zich te buiten gaat als storm; en daarom is het huidige gebruik windturbines nog niet zo geschikt als betrouwbare bron voor alternaïef tegen kernenergie en gas gestookte centrales.

Alles verandert als we het nieuwe materiaal gaan gebruiken, hetgeen professor van Tooren [TUDelft lucht en ruimtevaart] onlangs heeft uitgebroed: een composiet dat nooit meer vermoeit, zodat we vliegtuigen, boten, molens, auto's en treinen uit olieproducten kunnen maken die nooit meer stuk gaan! Zoals gezegd, tot nu was hout het enige beschikbare materiaal dat niet vermoeit; vliegtuigen waren vroeger ook van hout en ook de molens waren van hout. [Voor het overzicht: staal vermoeit en breekt op een gegeven moment.]

Olie als bouwmateriaal en waterstof als brandstof leveren in potentie:

1: De bouw van (grote) uit plastic opgetrokken voer- en vaartuigen om waterstof te vervoeren.

uitleg bij punt 1: de brandstof is schoon, en daarom mogen de voer- en vaartuigen immens zijn. Hoe meer verbranding, des te meer schoon water. Verder, laat men grote voertuigen door de woestijnen rijden, dan bevloeien ze vanzelf het land, en dit is goed voor de voedsel productie.

2: benutting van de zon in de woestijnen en gebruik van de wind nabij de arctische zones.

Wat ik wil zeggen is dit: tot nu was het maken grote voertuigen geen optie omdat de te in beweging te zetten massa grote verbrandingsmotoren vergt, en de olie is duur!

Met het gebruik van harde wind is de waterstof helemaal niet duur en juist verbranding van waterstof levert schoon water.

Stelt u zich dit eens voor: Er rijdt een colonne uit olie gemaakte door waterstof aangedreven voertuigen -welke voertuigen grote tanks met waterstof herbergen- door de Sahara, van Marrokko naar Somalia. Onderweg sproeien deze voertuigen water uit -als gevolg van de verbranding van de waterstof- en dus bevloeien ze het land. U weet ook dat wij Nederlanders "stront" [mest, afkomstig van onze immense veestapel en varkens] in overvloed hebben, en samen met water levert dit voedsel.

Er is nog nooit gedacht in termen van het zo veel als mogelijk verbranden van waterstof als brandstof, omdat de brandstof voorheen olie was en waterstof te duur. Dit verandert, als we permanente transportmiddelen bouwen -van olie-, als de brandstof waterstof is, en als we dus van elke wind, tot 12bft, en van de zon gebruik gaan maken op afgelegen plekken op aarde om die waterstof te maken.

Shell kan voorlopig blijven boren, iedereen blij.

 

If you want be a sponsor for the building of the prototype for a turbo wind mill, please deposit your gift to

Rabobank account number 374138354 from ACJ Goudriaan.

 

Als u een geldbedrag wilt doneren voor de, nu reeds gestarte, bouw van het prototype van de turbo windmolen, svp maak geld over naar Rabobank nummer 374138354 tnv ACJ Goudriaan te Zaandam

 

They were somehow simpler times back then. Furtive imaginations sparked game play and childish folly with merest of means or tangible accessories. Pieces of wood as cowboy guns, sweet shop candy cigarettes and cigars bought at a penny for eight in the 'Forboys' across the road as we emulated John Wayne in 'True grit' and Charles Bronson in Sergio Leones 'Once upon a time in the west' and swaggered about in a most ungainly fashion as though we had filled our pants inadvertently rather than just gotten off a sturdy equine.

 

The Park was our stomping ground, bicycles at dawn, pedalling like lunatics until we arrived sweaty and euphoric, making pathetic half-assed wheelies and claiming we were the next Eddie Kidd, or Evil Kneivel. It never entered our heads to set fire to the beautiful Oak trees within the park lands, or woods that we traversed, not to daub cheap Home base white painted graffiti all over the meandering wooden picket fences that lines the green nature walk and heralded our circuitous route around the grounds.

 

Computers had not even been invented and mobile phones a secret on the lips of balding bods chained and confined within the clammy walls of some Japanese corporate laboratory. Fun was a Rubik's cube, a skateboard or an Action man with eagles eyes and faux felt hair that seemed to really turn my sisters Cindy doll on whenever they hooked up! 'Starsky and Hutch', 'The New Avengers with a mighty pretty looking Joanna Lumley, and 'Charlie's Angels' filled our TV screens whilst we laughed at Leo Sayer's afro barnet and jived to the Bee Gees pretending we were Tony Manero out of 'Saturday night fever'. There was trust from our parents and stiff penalties if we ignored the highway rules or arrived home later than agreed. The cinema was a luxury, with 'Jaws' seeing me scared for a month of going near the bath water, let alone the sea, and my Saturday entertainment including the scrambling through washroom windows to stand and watch Charlton Athletic getting stuffed by what felt like every god damn other team in the entire world. At least I didn't waste good money to watch the fiasco. There was respect back then, mutual and abiding, though we bent those rules often enough as far as we dared.

 

No teenage alcoholism or ladettes puking on cheap white cider and Mike's hard lemonade on the city tarmac, a fight was a fight with bare knuckles until the opponent was down, no need to kick him unconscious and crack open his skull with your Doctor Martin boots just for the hell of it. The modern day knife culture couldn't have been further from our minds as we revelled in our childhood through to adolescence and awakenings of many sorts that had us nervous and giggling. I was a child back then on my Raleigh fourteen bicycle two wheel sizes too large for me, I was allowed to play, to dwell in my secret places, to learn to love Mother nature and care little for what the future held for me, before the pain of bedsits and utility bills, taxation and the shackles of conformity that we all must learn to bare and live with.

 

As I walk around the beautiful park, gazing at the foliage and the brightly painted wooden row boats out on the goose laden lake, the child within me remembers and rejoices. A part of me will forever run free as I did back then, a part of me will always be that eternal child.

 

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Written on July 4th 2011

 

Photograph taken at 10:40am on Thursday June 30th 2011 in the grounds of Dunorlan Park off Hall's Hole Place near Tunbridge Wells, Kent, England.

 

Nikon D700 82mm 1/800s f/8.0 iso220

 

Nikkor AF 75-300mm f/4.5-5.6. UV filter. Nikon GP-1.

 

Latitude: N 51d 7m 56.98s

Longitude: E 0d 17m 4.34s

Altitude: 120m

 

Tangible reminder of the trolleybus system that closed in 1953.

 

High res picture, best to zoom in for finer detail.

Welcome to this tangible cum reliable technologies world..

 

First, look at the selected red square area. Try to recognize their icons & functions individually....

the spark in her heart erupted and set ablaze the paradise surrounding her but she was too busy dancing to notice the flames consuming her life....

 

conflicted on titles...i cant decide!!!!!!!!!

all my own textures though:D except the fire of course...

The Origins of Kababayang Pilipino

by Mary Christine (Faron) Chan

 

kababayangpilipino.org/folk/site/company/the_origins/

 

(February 2003) - It was a decade ago last month when I first walked into Randy`s office at the UBC Student Union Building resolute in my purpose. I had just arrived from a whirlwind visit to the Philippines, the first in nearly 15 years. It had felt like a forced family junket when we departed for Manila in mid-December, along with other family friends - the Correas, the Romeros, the Mangalindans, and the Losanezs. But when the time to return to Vancouver came two weeks later, I felt torn leaving a family, a country, a culture I had known of all my life, but only then had discovered. Vancouver seemed dismal in the wet grey of winter, compelling me all the more to long for the warmth of the people and the climate of the Philippines. It was then that I realized how important my culture had become to me. How being Filipino was more than eating certain foods, laughing at certain jokes, or being brought up a certain way. Being Filipino is about expressing all of who I am as a Filipino Canadian in the face of a multicultural Canada, and proudly carrying the legacy of culture and heritage of the Filipino people that came before me - they who had made the sacrifices that brought me here today.

 

For this reason I was determined to make the meaning of that sacrifice relevant in the lives of those who had the blessing of a North American upbringing. Many of us, either born on Canadian soil or transplanted early from the homeland, had lacked the sensual first hand experience of the Philippine landscape and people. But we knew something about it through the dances we had learned at a young age. From the vigours of planting rice, to the coy traditions of courtship, to the religious rituals of a community, Filipino performing arts told the stories of the people and culture from which they were born. This was to become the medium through which we, as Filipino Canadians, would tell our collective story. And such was the proposal I made to Randy that afternoon, not knowing what would come of such a seemingly grand venture, but knowing only that our will was strong and our dedication unwavering.

 

Less than a month later, a group of 40 friends and acquaintances gathered in the living room of my parents` home in a cheery cul-de-sac. The meeting had a sole purpose: to propose the production of a community performance celebrating the music, dance, and song of our Filipino heritage. Upon sharing our common experiences growing up in the Filipino culture, it became clear that we were not alone in searching for that tangible expression of ourselves. The response was overwhelming and infectious. Before long, we had secured a strong following from across Vancouver and established a wonderful partnership with the then recently-formed Samahan ng Kabataan at SFU and the Filipino Students Association at UBC. The result was an amazing production in 1994 titled, Ang Bayan Ko - My Country, My Homeland. It was 10 months in the making - a culmination of absolute dedication, tears of difficulty, and overall, extremely hard work on the part of performers, parents, and production support. We presented our premier show at Richmond`s Gateway Theatre in November 1994, surprising our nearly sold-out audience - and ourselves - with our accomplishment. It became our standard of excellence upon which future shows were measured and improved upon.

 

So why is this important? How is KP`s history relevant? As the old adage goes: only in looking to your past can you know where you are today, that you may be confident in the direction of tomorrow. Today, we celebrate 10 years of KP. A decade that has seen over a dozen mainstage performances, over a hundred appearances in Canada and the U.S., and over two hundred committed volunteers and performers. That we have such a milestone to celebrate can only further affirm our need to continue the tradition that we founded together. Though many of us have moved on to a different phase in our lives, even a different place altogether, the legacy of what KP has become continues to rest with us.

 

And so we continue to gather, old and new for a dual purpose: for celebration and an invitation. As we cross the thresholds of milestones each year, we open the door to new hopes, aspirations, and opportunities. Thus, to you all I say: come and take your place among a cast of excellence and be part of our journey of cultural discovery that is Kababayang Pilipino. We welcome you to our stage.

The tangible realities of prehistory were interwoven by reflection. A stone may never be apt for conversion into a tool, a piece of wood too sodden for a fire, a cold wind too aggressive for a long expedition; a soil too frozen to dig out roots, a season too distant for migrating birds, a smoke on the horizon that is obviously not from a known clan, a leather hide that is not yet ready for use... merging into lists of an observable universe that is fully in sync with needs: the berries are ready to be picked, there is honey in that tree, we can see three clans smoke on the horizon and they will arrive on time, we have enough good flint for a moth of hunting... In effect, what we now organised within books, the internet and the written word were dispersed into the wind and between the seasons. Being able to read the qualities and times of the world around, a skill-set that all members of a clan could help assemble. The eyes look and the hands touch. The lips taste and the ears listen as the senses digest the constantly changing data of survival. Apart from the stars, the set of data that is apart from this physical relationship is the reflection. Touch the tree that is clearly visible on a mirror lake and it is gone. It had no weight to carry and had no fuel for a fire. The word we use to describe thinking is 'reflection' and the metaphor seems to be well found. We remember the past by holding images in the mind that represent events - at times like a perfect image on a mirror lake and at times like a broken distortion between whispers of wind. The jarred abstractions of a lake criss-crossed by gust and rain completing the analogy with memory loss or suppression. One man's mirror is another mans broken image - but, within a clan, the art of applying memories of the past, to situations of the present is managed. After a reflection of the present, the prehistoric subject might then turn to reflections for the future.

Harriet Elizabeth Beecher Stowe (June 14, 1811 – July 1, 1896) was an American abolitionist and novelist, whose Uncle Tom's Cabin (1852) attacked the cruelty of slavery; it reached millions as a novel and play, and became influential, even in Britain. It made the political issues of the 1850's regarding slavery tangible to millions, energizing anti-slavery forces in the American North. It angered and embittered the South. The impact is summed up in a commonly quoted statement apocryphally attributed to Abraham Lincoln. When he met Stowe, it is claimed that he said, "So you're the little woman started this great war!&quot

 

Harriet Beecher was born June 14, 1811, the seventh child of Protestant preacher, Lyman Beecher, whose children would later include the famed abolitionist theologian, Henry Ward Beecher. Harriet worked as a teacher with her older sister Catharine: her earliest publication was a geography for children, issued under her sister's name in 1833. In 1836, Harriet married Calvin Stowe, a clergyman and widower. Later she and her husband moved to Brunswick, Maine when he obtained an academic position at Bowdoin College. Harriet and Calvin had seven children, but some died in early childhood. Her first children, twin girls Hattie and Eliza, were born on September 29, 1836. Four years later, in 1840, her son Frederick William was born. In 1848 the birth of Samuel Charles occurred, but in the following year, he died from a cholera epidemic. Stowe helped to support her family financially by writing for local and religious periodicals. During her life, she wrote poems, travel books, biographical sketches, and children's books, as well as adult novels. She met and corresponded with people as varied as Lady Byron, Oliver Wendell Holmes, and George Eliot.

 

While she wrote at least ten adult novels, Harriet Beecher Stowe is predominantly known for her first, Uncle Tom's Cabin (1852). Begun as a serial for the Washington anti-slavery weekly, the National Era, it focused public interest on the issue of slavery, and was deeply controversial. In writing the book, Stowe drew on her personal experience: she was familiar with slavery, the antislavery movement, and the underground railroad because Kentucky, across the Ohio River from Cincinnati, Ohio, where Stowe had lived, was a slave state. Following publication of the book, she became a celebrity, speaking against slavery both in America and Europe. She wrote A Key to Uncle Tom's Cabin (1853) extensively documenting the realities on which the book was based, to refute critics who tried to argue that it was inauthentic; and published a second anti-slavery novel, Dred in 1856. Campaigners for other social changes, such as Caroline Norton, respected and drew upon her work.

 

The historical significance of Stowe's antislavery writing has tended to draw attention away from her other work, and from her work's literary significance. Her work is admittedly uneven. At its worst, it indulges in a romanticized Christian sensibility that was much in favour with the audience of her time, but that finds little sympathy or credibility with modern readers. At her best, Stowe was a early and effective realist. Her settings are often accurately and detailedly described. Her portraits of local social life, particularly with minor characters, reflect an awareness of the complexity of the culture she lived in, and an ability to communicate that culture to others. In her commitment to realism, and her serious narrative use of local dialect, Stowe predated works like Mark Twain's Huckleberry Finn by 30 years, and influenced later regionalist writers including Sarah Orne Jewett and Mary Eleanor Wilkins Freeman.

  

Source UNESCO: From the 13th century to the founding of St Petersburg, the Moscow Kremlin was directly and tangibly associated with every major event in Russian history. The Kremlin contains within its walls a unique series of masterpieces of architecture and the plastic arts - religious monuments of exceptional beauty such as the Church of the Annunciation, Cathedral of the Dormition, Church of the Archangel and the bell tower of Ivan Veliki, and palaces such as the Great Palace of the Kremlin, which comprises within its walls the Church of the Nativity of the Virgin and the Teremnoi Palace. On Red Square is Saint Basil the Blessed, still a major edifice of Orthodox art. Russian architecture was clearly affected many times in its history by influences emanating from the Kremlin. A particular example is the Italian Renaissance.

 

The Kremlin of Moscow, which according to chronicles dates from 1156, contains an ensemble of monuments of outstanding quality. Ever since the establishment of the Principality of Moscow in 1263 and the transfer to Moscow of the seat of Vladimir's Metropolitan in 1328, this was the centre of both temporal and spiritual power. Some of these original buildings border Cathedral Square, others, such as the Nativity of the Virgin (1393), were incorporated into the Great Palace when it was rebuilt. The nucleus expanded northward with the palace of the Patriarchs and the Church of the Twelve Apostles, erected in the 17th century, and especially with the Arsenal of Peter the Great which fills the north-west angle of the enceinte. The triangular palace of the Senate (today the seat of the Council of Ministers) was built by Kazakov for Empress Catherine II in the north-east sector between the Arsenal and the monasteries of the Miracle and of the Ascension, two splendid structures that were razed in 1932. In the south-east sector Kazakov built another smaller palace for the empress, known as the Nicholas palace, and also destroyed in 1932.

 

Red Square is closely associated with the Kremlin, lying beneath its east wall. At its south end is the famous Cathedral of St Basil the Blessed, one of the most beautiful monuments of Orthodox art. It was originally one of a pair of churches, the other being the Cathedral of Kazan, erected in 1633 in the vast open area bordering the 'Goum' by Prince Pozarsky to commemorate the victory over the Poles. It disappeared in the early 1930s along with several convents in the neighbouring area (Saviour-behind-the-Images, St Nicholas, Epiphany).

Russia Moscow Capital Kremlin Red Square St Basil the Blessed Cathedral UNESCO World Heritage. ........------------------------------------------------------- - ----------------------------------------

All my photographs are © Copyrighted and All Rights Reserved

Tangible Media Group

There has been a shrine at this location since Fatimid times, but tangible architectural documentation does not appear until the 1549, when a series of builders, beginning with Semiz Ali Pasha (in 1549) contributed to it. The current mosque was enlarged in 1942, the 1990s & 2022.

 

The cenotaph is protected by a magnificent silver screen provided by the Dawoodi Bohras, from the Shiʿa Ismaʿili Mustaʿli Tayyibi branch of Islam who adhere to the faith of the Fatimid Imam-caliphs.

 

Zaynab bint 'Ali c.626-c.682, the eldest daughter of 'Ali ibn Abi Talib & Fatima bint Muhammad, sister of Husayn. She was with him at the battle of Karbala. The Prophet Muhammad was her maternal grandfather, and thus she is a member of his Ahl al-Bayt (People of the House, the holy family of the Prophet Muhammad). She married ‘Abdullah ibn Ja‘far. Some historians consider that Sayyida Zainab was exiled to Egypt in c.679, and that she was buried at this site. However, many people, primarily Twelver Shias, believe that Sayyida Zainab was buried in Damascus, Syria (see www.flickr.com/photos/gballardice/5081543467 & ff.).

Along with Sayyidas Nafisa & Ruqayya, Zaynab bint 'Ali are traditionally considered the patron saints of Cairo.

 

Patron: Tewfik Pasha (Muḥammad 'Ali Tawfīq Bāshā) 1852-1892, eldest son of Khedive Ismail, Khedive (Ottoman viceroy) of Egypt & Sudan (r.1879-1892).

 

Semiz Ali Pasha (Semiz, fat in Turkish) was an Ottoman Serb statesman from the Sanjak of Bosnia who served as Grand Vizier of the Ottoman Empire (r.1561-1565), beylerbey (governor) of Egypt Eyalet (r.1549-1553).

 

Islamic Monument #620

Tumbes was a populated region well before the Inca Empire. The adventure of the Spanish Conquistadores had its beginning in Tumbes: at Puerto Pizarro Francisco Pizarro and his men landed in search of gold.

 

A LITTLE HISTORY of the INCA EMPIRE WHICH STRETCHED FROM CHILE TO WHAT IS NOW TODAY EQUADOR--------------

 

The below are excerpts from "THE CONQUEST OF THE INCA EMPIRE BY FRANCISCO PIZARRO"

 

"Francisco Pizarro was born in 1474 in Trujillo, Spain, as the illegitimate and poorly-educated son of a minor noble.

 

In 1502 he arrived in the Spanish colony of Hispaniola where he later joined the expedition to settle Panama in 1519. Here he led a fairly prosperous life. In 1522 sailors brought rumors of the existence of a rich and powerful indigenous empire to the south of Panama.

 

Pizarro and his two partners organized three private expeditions in the conquistador tradition. The first expedition brought no tangible gain.

 

The second expedition led Pizarro to a northern outpost of the Inca Empire, Tumbez, where he acquired three Inca youths that he planned to train as interpreters. For the third expedition

 

Pizarro secured a contract, a capitulacione, from the Spanish Crown that named him the Governor of Peru, and ennobled thirteen members of his company.

 

In late 1530, Pizarro sailed from Panama to Tumbez with 180 men.

 

Once in Tumbez it was evident to Pizarro that the Incas were engaged in a civil war and that they were suffering from the first smallpox epidemic to reach the region.

 

The smallpox epidemic claimed the life of the powerful Inca Emperor, Huayna Capac, and his heir apparent. The resulting power vacuum caused a political crisis within the empire.

 

Two of the emperor's sons laid claim to the throne: Huáscar was selected by the court elite to rule from Cuzco, the traditional Inca capital, and Atahualpa had control of his father's professional army and the newly conquered regions of Ecuador and Columbia.

 

The two half brothers were soon embroiled in a civil war that ravaged Inca cities, wreaked havoc on the economy, and decimated the population.

 

Early in 1532, Atahualpa's army defeated Huáscar's army and captured and executed its leader.

 

The arrival of Pizarro was at first viewed as little more than a curiosity by the Incas, who did not recognise the danger posed by Spanish steel weaponry and horse cavalry.

 

Pizarro and his men set a trap and successfully captured Atahualpa who assumed that the Spanish simply intended to raid the empire.

 

He thus offered them a ransom of 13,420 pounds of gold and 26,000 pounds of silver in exchange for his release. Pizarro accepted and promised to release Atahualpa.

 

However, when the ransom was delivered, Pizarro's partners suggested that Atahualpa be executed, fearing that the Inca leader could still rally the support of his demoralised armies.

 

Eventually Pizarro was convinced of Atahualpa's threat to their position and had him executed in August 1533. Pizarro next set his sights on the looting of Cuzco, the Inca capital."

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

Excerpts from"Pizarro Going to Peru"

 

"Pizarro appointed Huáscar's brother, Manco Capac, as nominal ruler of the Inca Empire.

 

He then marched to Cuzco where, with the help of Huáscar's surviving supporters, he met and defeated what remained of Atahualpa's forces.

 

In 1535, having consolidated his control, Pizarro established a new capital city now known as Lima. Capac was allowed to rule in Cuzco as a puppet monarch but Spanish abuses forced him to lead an unsuccessful revolt.

 

Pizarro also had to confront the internal divisions of his own partnerships. His chief ally, Almagro, now turned into his chief rival. Almagro and his supporters would eventually lose a pitched battle on the plains near Cuzco.

 

Pizarro's brother would then order the execution of the defeated Almagro whose family then took revenge by assassinating Pizarro in 1541.

 

Finally King Charles I stepped in and appointed Christobal Vaca de Castro as Governor of Peru, who, with the aid of the Pizarro loyalists, ended the political crisis."

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

To me, the below account is the most interesting because of who wrote it.

 

"Capture of an Inca King": from the narrative of the Conquest of Peru, by Francisco Pizarro's

personal secretary, Francisco de Xeres, 1530-34.

  

Capture of an Inca King: Francisco Pizarro

from Narrative of the Conquest of Peru, by his secretary, Francisco de Xeres, 1530-34

 

[Pizarro sends for Atahualpa.]

 

"As soon as the messenger came before Atahualpa, he made an obeisance to him, and made signs that he should come to where the Governor waited.

 

Presently he and his troops began to move, and the Spaniard returned and reported that they were coming, and that the men in front carried arms concealed under their clothes, which were strong tunics of cotton, beneath which were stones and bags and slings; all which made it appear that they had a treacherous design.

 

Soon the van of the enemy began to enter the open space. First came a squadron of Indians dressed in a livery of different colors, like a chessboard.

 

They advanced, removing the straws from the ground and sweeping the road. Next came three squadrons in different dresses, dancing and singing.

 

Then came a number of men with armor, large metal plates, and crowns of gold and silver.

 

Among them was Atahualpa in a litter lined with plumes of macaws' feathers of many colors and adorned with plates of gold and silver. Many Indians carried it on their shoulders on high .

 

On reaching the center of the open space, Atahualpa remained in his litter on high, and the others with him, while his troops did not cease to enter.

 

A captain then came to the front and, ascending the fortress near the open space, where the artillery was posted, raised his lance twice, as for a signal.

 

Seeing this, the Governor asked the Father Friar Vicente if he wished to go and speak to Atahualpa, with an interpreter. He replied that he did wish it, and he advanced, with a cross in one hand and the Bible in the other, and going amongst the troops up to the place where Atahualpa was, thus addressed him: "I am a priest of God, and I teach Christians the things of God, and in like manner I come to teach you. What I teach is that which God says to us in this Book. Therefore, on the part of God and of the Christians, I beseech you to be their friend, for such is God's will, and it will be for your good. Go and speak to the Governor, who waits for you."

 

Atahualpa asked for the Book, that he might look at it, and the priest gave it to him closed. Atahualpa did not know how to open it, and the priest was extending his arm to do so, when Atahualpa, in great anger, gave him a blow on the arm, not wishing that it should be opened.

 

Then he opened it himself, and, without any astonishment at the letters and paper, as had been shown by other Indians, he threw it away from him five or six paces, and, to the words which the monk had spoken to him through the interpreter, he answered with much scorn, saying: "I know well how you have behaved on the road, how you have treated my chiefs, and taken the cloth from my storehouses."

 

The monk replied: "The Christians have not done this, but some Indians took the cloth without the knowledge of the Governor, and he ordered it to be restored."

 

Atahualpa said: "I will not leave this place until they bring it all to me."

 

The monk returned with this reply to the Governor.

 

Atahualpa stood up on the top of the litter, addressing his troops and ordering them to be prepared.

 

The monk told the Governor what had passed between him and Atahualpa, and that he had thrown the Scriptures to the ground.

 

Then the Governor put on a jacket of cotton, took his sword and dagger, and, with the Spaniards who were with him, entered amongst the Indians most valiantly; and, with only four men who were able to follow him, he came to the litter where Atahualpa was, and fearlessly seized him by the arm, crying out, "Santiago!" Then the guns were fired off, the trumpets were sounded, and the troops, both horse and foot, sallied forth.

 

On seeing the horses charge, many of the Indians who were in the open space fled, and such was the force with which they ran that they broke down part of the wall surrounding it, and many fell over each other. The horsemen rode them down, killing and wounding, and following in pursuit.

 

The infantry made so good an assault upon those that remained that in a short time most of them were put to the sword.

 

The Governor still held Atahualpa by the arm, not being able to pull him out of the litter because he was raised so high.

 

Then the Spaniards made such a slaughter amongst those who carried the litter that they fell to the ground, and, if the Governor had not protected Atahualpa, that proud man would there have paid for all the cruelties he had committed.

 

The Governor, in protecting Atahualpa, received a slight wound in the hand. During the whole time no Indian raised his arms against a Spaniard.

 

So great was the terror of the Indians at seeing the Governor force his way through them, at hearing the fire of the artillery, and beholding the charging of horses, a thing never before heard of, that they thought more of flying to save their lives than of fighting.

 

All those who bore the litter of Atahualpa appeared to be principal chiefs. They were all killed, as well as those who were carried in the other litters and hammocks....

 

The Governor went to his lodging, with his prisoner Atahualpa despoiled of his robes, which the Spaniards had tom off in pulling him out of the litter. It was a very wonderful thing to see so great a lord taken prisoner in so short a time, who came in such power.

 

The Governor presently ordered native clothes to be brought, and when Atahualpa was dressed, he made him sit near him, and soothed his rage and agitation at finding himself so quickly fallen from his high estate.

 

Among many other things, the Governor said to him: "Do not take it as an insult that you have been defeated and taken prisoner, for with the Christians who come with me, though so few in number, I have conquered greater kingdoms than yours, and have defeated other more powerful lords than you, imposing upon them the dominion of the Emperor, whose vassal I am, and who is King of Spain and of the universal world. We come to conquer this land by his command, that all may come to a knowledge of God, and of His Holy Catholic Faith . . ."

 

Atahualpa feared that the spaniards would kill him, so he told the Governor that he would give his captors a great quantity of gold and silver.

 

The Governor asked him: "How much can you give, and in what time?" Atahualpa said: "I will give gold enough to fill a room twenty-two feet long and seventeen wide, up to a white line which is halfway up the wall." The height would be that of a man's stature and a half. He said that, up to that mark, he would fill the room with different kinds of golden vessels, such as jars, pots, vases, besides lumps and other pieces. As for silver, he said he would fill the whole chamber with it twice over. He undertook to do this in two months.

 

The Governor told him to send off messengers with this object, and that, when it was accomplished, he need have no fear.

 

After some days some of the people of Atahualpa arrived. There was a brother of his, who came from Cuzco, and sisters and wives. The brother brought many vases, jars, and pots of gold, and much silver, and he said that more was on the road; but that, as the journey is so long, the Indians who bring the treasure become tired, and cannot all come so quickly, so that every day more gold and silver will arrive of that which now remains behind.

 

Thus on some days twenty thousand, on others thirty thousand, on others fifty thousand or sixty thousand pesos of gold arrived, in vases, great pots weighing two or three arrobas, and other vessels.

 

The Governor ordered it all to be put in the house where Atahualpa had his guards, until he had accomplished what he had promised.

 

[After receiving the huge ransom from Atahualpa,

Pizarro charges the Inca with conspiring against him.]

 

. . . I will say something of the place that was subject to the Cuzco and now belongs to Atahualpa. They say that it contained two houses made of gold, and that the straws with which it was roofed were all made of gold. With the gold that was brought from Cuzco, there were some straws made of solid gold, with their spikes, just as they would grow in the fields.

 

If I was to recount all the different varieties in the shape of the pieces of gold my story would never end.

 

There was a stool of gold [the throne of the Incas, which Pizarro himself took] that weighed eight arrobas.

 

There were great fountains with their pipes, through which water flowed into a reservoir on the same fountains, where there were birds of different kinds, and men drawing water from the fountain, all made of gold.

It was also ascertained from Atahualpa and Chilicuchima, and many others, that in Xauxa Atahualpa had sheep and shepherds tending them, all made of gold; and the sheep and shepherds were large, and of the size that they are met with in this land.

 

Now I must mention a thing which should not be forgotten. A chief, who was Lord of Caxamalca, appeared before the Governor and said to him through the interpreters: "I would have you to know that, after Atahualpa was taken prisoner, he sent to Quito, his native land, and to all the other provinces, with orders to collect troops to march against you and your followers, and to kill you all; and all these troops are coming under the command of a great captain called Lluminabi. This army is now very near to this place. It will come at night and attack the camp . . ."

 

The Governor then spoke to Atahualpa, saying: "What treason is this that you have prepared for me? For me who have treated you with honor, like a brother, and have trusted in your words!"

 

Then he told him all the information he had received. Atahualpa answered, saying: "Are you laughing at me? You are always making jokes when you speak to me. What am I and all my people that we should trouble such valiant men as you are? Do not talk such nonsense to me." He said all this without betraying a sign of anxiety; but he laughed the better to conceal his evil design, and practiced many other arts such as would suggest themselves to a quick-witted man.

 

After he was a prisoner, the Spaniards who heard him were astounded to find so much wisdom in a barbarian....

 

Then the Governor, with the concurrence of the officers of his Majesty, and of the captains and persons of experience, sentenced Atahualpa to death. His sentence was that, for the treason he had committed, he should die by burning, unless he became a Christian . . .

 

They brought out Atahualpa to execution; and, when he came into the square, he said he would become a Christian. The Governor was informed, and ordered him to be baptized. The ceremony was performed by the very reverend Father Friar Vicente de Valverde.

 

The Governor then ordered that he should not be burned, but that he should be fastened to a pole in the open space and strangled. This was done, and the body was left until the morning of the next day, when the monks, and the Governor with the other Spaniards, conveyed it into the church, where it was interred with much solemnity, and with all the honors that could be shown it.

 

Such was the end of this man, who had been so cruel. He died with great fortitude, and without showing any feeling . . ."

  

Tumbes Peru

Varous Artists

Wednesday 6 - Friday 8 November, Check listing for times

Various Locations

Various Locations

Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.

 

Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens

 

Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.

 

Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.

   

Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps

 

Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.

 

Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.

 

Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance

 

Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.

The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.

 

Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.

 

About the Artists

 

Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.

 

Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.

 

Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.

 

Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.

 

Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.

 

Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.

 

Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.

 

Photography by Kathryn Rattray

For TANGIBLE time capsules

Something I can hold

Portraits of Hope Teams with Gain

 

Photo: POH

 

New York City: Laundry - Laundromat/Lavanderia Makeovers -- Bronx, East Harlem, Washington Heights Portraits of Hope's Laundromat Public Art and Civic Initiative

 

Conceived and developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope www.portraitsofhope.org

 

A select group of laundromats in New York City now beam colors and flowers throughout their interior settings -- on ceilings, walls, washing machines, dryers, floors, and tables -- as part of Portraits of Hope’s latest creative therapy, civic education, public art and community undertaking involving children in hospitals, schools, and social service programs.

 

This Portraits of Hope public art and civic initiative is a continuation of the program’s large-scale, national projects which have visually transformed and brightened public settings and symbols ranging from the NYC taxi fleet, blimps, planes, and buildings to LA’s coastal lifeguard towers, NASCAR race cars, and frontline fire and rescue vehicles.

 

Gain has partnered with Portraits of Hope to beautify and enhance the laundromat settings and experience through participatory community opportunities culminating in the public art makeovers.

 

Traditionally, Portraits of Hope selects iconic public settings and symbols for its visual makeovers that people routinely take for granted or expect will continue to be “the same as they've always been.” For this project, POH and Gain have picked a set of locations that are almost universally taken for granted: Laundromats/Lavanderias. These venues are necessities for millions of people -- and in urban areas, laundromats also do double-duty as mini-social centers or places where adults with their kids spend hours of time. POH and Gain decided to change the visual dynamic of that experience and add positive energy to those settings.

 

After visiting 170 NYC laundromats as potential sites for Portraits of Hope laundromat makeovers, POH narrowed it down and selected six; four in South Bronx and two in upper Manhattan: Washington Heights and Spanish Harlem.

 

Children and youth in the Bronx and Harlem, among others, have participated in Portraits of Hope art, creative therapy, and civic leadership sessions in schools and hospitals in which much of the art has been created. The vibrantly hued art is floral themed -- as the flower is the universal symbol of beauty, joy, life, renewal, and nature. The flower is a theme integral to Portraits of Hope.

 

For the Laundromat project, Ed Massey designed special exhibition elements including chandeliers, freestanding lamps, laundry baskets, carts, fountains, corn hole boards, and recycling containers to enliven the laundromat makeovers.

 

The 2D and 3D art and designs in the laundromats are everywhere -- whether looking up, down, forward, back, or side to side -- making these New York laundromats the most unique and festive anywhere.

 

Background:

 

Portraits of Hope conceives and develops high-profile motivational art projects that merge the production of dynamic public art works with creative therapy for hospitalized children and civic education for children of all ages.

 

Special Portraits of Hope brushes and methodologies have been developed for children and adults with illnesses and physical disabilities, including telescope brushes for those in wheel chairs or attached to IVs, shoe brushes for people unable to manipulate a brush with their hands, and fruit-flavored mouth brushes for kids and adults with limited or no movement in their limbs. For persons who are blind or visually impaired, Portraits of Hope utilizes special textured paints.

 

In schools, Portraits of Hope participants engage in interdisciplinary education sessions in which students assess, discuss and communicate their thoughts on social issues affecting their communities and the world, including: civic leadership, education, health care, the environment, foreign aid, and senior care. The larger art collaboration is a group effort to demonstrate tangibly the power of community teamwork and civic engagement.

 

Founded by brothers Ed Massey and Bernie Massey, Portraits of Hope has engaged tens of thousands of children and adults in huge civic collaborations - in the U.S. and abroad – and involved nearly 1,000 hospitals, schools, and social service programs in its projects.

 

The exhibition will run through Summer 2014 – or until a later date determined by the participating Laundromats.

 

Laundromat locations:

 

1. "Up All Night Laundromat," 1965 Amsterdam Ave., Washington Heights

2. "All Clean Laundromat," 2035 3rd Ave, East Harlem

3. "Happy Family Laundromat," 275 E. 163rd St, Bronx

4. "3rd Ave Laundromat," 3825 3rd Ave, Bronx

5. "Super Coin Laundromat," 938 E 163rd St, Bronx

6. "Clean Circle Laundromat," 1210 Webster Ave, Bronx

 

Portraits of Hope is extremely grateful to Proctor & Gamble and Gain for exemplifying civic spirit and generosity in making the project possible and for sharing in the project’s themes and goals which has allowed for the beautification of these community Laundromats.

 

Portraits of Hope gives bear hugs to: New York Cares and their teams of outstanding volunteers who participated in hospital and school sessions for another POH project; Hudson River Park and its staff which has been involved in 3 POH projects; MACtac which has provided top performing adhesive material for multiple POH national projects; and Laird Plastics, national materials suppliers, who provide great product know-how, recycling capabilities, and wonderful civic spirit.

 

Portraits of Hope gives a loud shout-out to the laundromats selected for the project and, of course, to the hundreds of children who had a chance to participate in its sessions and are the stars of the initiative. www.portraitsofhope.org

 

During 1916 the British born Australian architect Walter Richmond Butler (1864 – 1949) designed a new Anglican Mission to Seamen to be built on an oddly shaped triangular block of land at 717 Flinders Street on the outskirts of the Melbourne central city grid, to replace smaller premises located in adjoining Siddeley Street, which had been resumed by the Harbour Trust during wharf extensions.

 

The Missions to Seamen buildings, built on reinforced concrete footings, are in rendered brick with tiled roofs. Walter Butler designed the complex using an eclectic mixture of styles, one of which was the Spanish Mission Revival which had become a prevalent style on the west coast of America, especially in California and New Mexico during the 1890s. The style revived the architectural legacy of Spanish colonialism of the Eighteenth Century and the associated Franciscan missions. The revival of the style is explicit in the Mission’s small, yet charming chapel with its rough-hewn timber trusses, in the bell tower with its pinnacles and turret surmounted by a rustic cross and in the monastic-like courtyard, which today still provides a peaceful retreat from the noisy world just beyond the Missions to Seamen’s doorstep. The chapel also features many gifts donated by members of the Harbour Trust and Ladies’ Harbour Lights Guild, including an appropriately themed pulpit in the shape of a ship's prow and two sanctuary chairs decorated with carved Australian floral motifs. Some of the stained glass windows in the chapel depict stories and scenes associated with the sea intermixed with those Biblical scenes more commonly found in such places of worship.

 

The adjoining Mission to Seamen’s administration, residential and recreational building shows the influence of English domestic Arts and Crafts architecture, with its projecting gable, pepper pot chimneys and three adjoining oriel windows. The lobby, with its appropriately nautically inspired stained glass windows, features a large mariner's compass inlaid in the terrazzo floor. Built-in timber cupboards, wardrobes, paneling and studded doors throughout the buildings evoke a ship's cabin.

 

Walter Butler, architect to the Anglican Diocese in Melbourne, had come to Australia with an intimate knowledge and experience of the Arts and Crafts movement and continued to use the style in his residential designs of the 1920s. The main hall has a reinforced concrete vaulted ceiling. Lady Stanley, wife of the Mission's patron, Governor Sir Arthur Lyulph Stanley, laid the foundation stone of the complex in November 1916. The buildings were financed partly by a compensation payment from the Harbour Trust of £8,500.00 and £3,000.00 from local merchants and shipping firms. The Ladies' Harbour Lights Guild raised over £800.00 for the chapel. Most of the complex was completed by late 1917 whilst the Pantheon-like gymnasium with oculus was finished soon afterwards. The substantially intact interiors, including extensive use of wall paneling in Tasmanian hardwood, form an integral part of the overall design.

 

The Missions to Seamen buildings are architecturally significant as a milestone in the early introduction of the Spanish Mission style to Melbourne. The style was to later find widespread popularity in the suburbs of Melbourne. The choice of Spanish Mission directly refers to the Christian purpose of the complex. The Missions to Seamen buildings are unusual for combining two distinct architectural styles, for they also reflect the imitation of English domestic architecture, the Arts and Crafts movement. Walter Butler was one of the most prominent and progressive architects of the period and the complex is one of his most unusual and distinctive works.

 

The Missions to Seamen buildings have historical and social significance as tangible evidence of prevailing concerns for the religious, moral, and social welfare of seafarers throughout most of the Nineteenth and Twentieth Centuries. The complex has a long association with the Missions to Seamen, an organisation formed to look after the welfare of seafarers, both officers and sailors, men "of all nationalities". It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Reverend Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobsons Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. In 1905 the Reverend Alfred Gurney Goldsmith arrived at the behest of the London Seamen's Mission to establish a city mission for sailors working on the river wharves and docks. The building reflects the diverse role played by the Mission with its chapel, hall and stage, billiards room, reading room, dining room, officers' and men’s quarters, chaplain's residence, and gymnasium. It is still in use to this day under the jurisdiction of a small, but passionate group of workers, providing a welcome place of refuge to seamen visiting the Port of Melbourne.

 

Walter Butler was considered an architect of great talent, and many of his clients were wealthy pastoralists and businessmen. His country-house designs are numerous and include “Blackwood” (1891) near Penshurst, for R. B. Ritchie, “Wangarella” (1894) near Deniliquin, New South Wales, for Thomas Millear, and “Newminster Park” (1901) near Camperdown, for A. S. Chirnside. Equally distinguished large houses were designed for the newly established Melbourne suburbs: “Warrawee” (1906) in Toorak, for A. Rutter Clark; “Thanes” (1907) in Kooyong, for F. Wallach; “Kamillaroi” (1907) for Baron Clive Baillieu, and extensions to “Edzell” (1917) for George Russell, both in St Georges Road, Toorak. These are all fine examples of picturesque gabled houses in the domestic Queen Anne Revival genre. Walter Butler was also involved with domestic designs using a modified classical vocabulary, as in his remodelling of “Billilla” (1905) in Brighton, for W. Weatherley, which incorporates panels of flat-leafed foliage. Walter Butler also regarded himself as a garden architect.

 

As architect to the diocese of Melbourne from 1895, he designed the extensions to “Bishopscourt” (1902) in East Melbourne. His other church work includes St Albans (1899) in Armadale, the Wangaratta Cathedral (1907), and the colourful porch and tower to Christ Church (c.1910) in Benalla. For the Union Bank of Australia he designed many branch banks and was also associated with several tall city buildings in the heart of Melbourne’s central business district such as Collins House (1910) and the exceptionally fine Queensland Insurance Building (1911). For Dame Nellie Melba Butler designed the Italianate lodge and gatehouse at “Coombe Cottage” (1925) at Coldstream.

 

This looks so real and tangible that it's almost like photons had mass.

 

Definitely full view. I love this photo.

 

tangible romance in this shot.... "I've got my love to keep me warm"....even on a 20 degree, snowy december day :)

La serie busca construir historias ficticias basadas en idilios del pasado, esto surge por la falta de pruebas tangibles o vestigios fotográficos con las ex parejas debido a los juicios sociales en los que ellos se verían inmersos si se mostrara afecto homosexual en público.

El discurso tiene dos vías, la producción de puestas en escena donde se muestra la utopía o deseos románticos jamás cumplidos y un diario en el que concibo un amor imaginario que permite llenar el vacío de la memoria fotográfica que valide una inefable relación amorosa.

Portraits of Hope Teams with Gain

 

Photo: Bo Vallin

 

New York City Laundromat/Lavanderia Makeovers -- Bronx, East Harlem, Washington Heights Portraits of Hope's Laundromat Public Art and Civic Initiative

 

Conceived and developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope www.portraitsofhope.org

 

A select group of laundromats in New York City now beam colors and flowers throughout their interior settings -- on ceilings, walls, washing machines, dryers, floors, and tables -- as part of Portraits of Hope’s latest creative therapy, civic education, public art and community undertaking involving children in hospitals, schools, and social service programs.

 

This Portraits of Hope public art and civic initiative is a continuation of the program’s large-scale, national projects which have visually transformed and brightened public settings and symbols ranging from the NYC taxi fleet, blimps, planes, and buildings to LA’s coastal lifeguard towers, NASCAR race cars, and frontline fire and rescue vehicles.

 

Gain has partnered with Portraits of Hope to beautify and enhance the laundromat settings and experience through participatory community opportunities culminating in the public art makeovers.

 

Traditionally, Portraits of Hope selects iconic public settings and symbols for its visual makeovers that people routinely take for granted or expect will continue to be “the same as they've always been.” For this project, POH and Gain have picked a set of locations that are almost universally taken for granted: Laundromats/Lavanderias. These venues are necessities for millions of people -- and in urban areas, laundromats also do double-duty as mini-social centers or places where adults with their kids spend hours of time. POH and Gain decided to change the visual dynamic of that experience and add positive energy to those settings.

 

After visiting 170 NYC laundromats as potential sites for Portraits of Hope laundromat makeovers, POH narrowed it down and selected six; four in South Bronx and two in upper Manhattan: Washington Heights and Spanish Harlem.

 

Children and youth in the Bronx and Harlem, among others, have participated in Portraits of Hope art, creative therapy, and civic leadership sessions in schools and hospitals in which much of the art has been created. The vibrantly hued art is floral themed -- as the flower is the universal symbol of beauty, joy, life, renewal, and nature. The flower is a theme integral to Portraits of Hope.

 

For the Laundromat project, Ed Massey designed special exhibition elements including chandeliers, freestanding lamps, laundry baskets, carts, fountains, corn hole boards, and recycling containers to enliven the laundromat makeovers.

 

The 2D and 3D art and designs in the laundromats are everywhere -- whether looking up, down, forward, back, or side to side -- making these New York laundromats the most unique and festive anywhere.

 

Background:

 

Portraits of Hope conceives and develops high-profile motivational art projects that merge the production of dynamic public art works with creative therapy for hospitalized children and civic education for children of all ages.

 

Special Portraits of Hope brushes and methodologies have been developed for children and adults with illnesses and physical disabilities, including telescope brushes for those in wheel chairs or attached to IVs, shoe brushes for people unable to manipulate a brush with their hands, and fruit-flavored mouth brushes for kids and adults with limited or no movement in their limbs. For persons who are blind or visually impaired, Portraits of Hope utilizes special textured paints.

 

In schools, Portraits of Hope participants engage in interdisciplinary education sessions in which students assess, discuss and communicate their thoughts on social issues affecting their communities and the world, including: civic leadership, education, health care, the environment, foreign aid, and senior care. The larger art collaboration is a group effort to demonstrate tangibly the power of community teamwork and civic engagement.

 

Founded by brothers Ed Massey and Bernie Massey, Portraits of Hope has engaged tens of thousands of children and adults in huge civic collaborations - in the U.S. and abroad – and involved nearly 1,000 hospitals, schools, and social service programs in its projects.

 

The exhibition will run through Summer 2014 – or until a later date determined by the participating Laundromats.

 

Laundromat locations:

 

1. "Up All Night Laundromat," 1965 Amsterdam Ave., Washington Heights

2. "All Clean Laundromat," 2035 3rd Ave, East Harlem

3. "Happy Family Laundromat," 275 E. 163rd St, Bronx

4. "3rd Ave Laundromat," 3825 3rd Ave, Bronx

5. "Super Coin Laundromat," 938 E 163rd St, Bronx

6. "Clean Circle Laundromat," 1210 Webster Ave, Bronx

 

Portraits of Hope is extremely grateful to Proctor & Gamble and Gain for exemplifying civic spirit and generosity in making the project possible and for sharing in the project’s themes and goals which has allowed for the beautification of these community Laundromats.

 

Portraits of Hope gives bear hugs to: New York Cares and their teams of outstanding volunteers who participated in hospital and school sessions for another POH project; Hudson River Park and its staff which has been involved in 3 POH projects; MACtac which has provided top performing adhesive material for multiple POH national projects; and Laird Plastics, national materials suppliers, who provide great product know-how, recycling capabilities, and wonderful civic spirit.

 

Portraits of Hope gives a loud shout-out to the laundromats selected for the project and, of course, to the hundreds of children who had a chance to participate in its sessions and are the stars of the initiative. www.portraitsofhope.org

 

There has been a shrine at this location since Fatimid times, but tangible architectural documentation does not appear until the 1549, when a series of builders, beginning with Semiz Ali Pasha (in 1549) contributed to it. The current mosque was enlarged in 1942, the 1990s & 2022.

 

The cenotaph is protected by a magnificent silver screen provided by the Dawoodi Bohras, from the Shiʿa Ismaʿili Mustaʿli Tayyibi branch of Islam who adhere to the faith of the Fatimid Imam-caliphs.

 

Zaynab bint 'Ali c.626-c.682, the eldest daughter of 'Ali ibn Abi Talib & Fatima bint Muhammad, sister of Husayn. She was with him at the battle of Karbala. The Prophet Muhammad was her maternal grandfather, and thus she is a member of his Ahl al-Bayt (People of the House, the holy family of the Prophet Muhammad). She married ‘Abdullah ibn Ja‘far. Some historians consider that Sayyida Zainab was exiled to Egypt in c.679, and that she was buried at this site. However, many people, primarily Twelver Shias, believe that Sayyida Zainab was buried in Damascus, Syria (see www.flickr.com/photos/gballardice/5081543467 & ff.).

Along with Sayyidas Nafisa & Ruqayya, Zaynab bint 'Ali are traditionally considered the patron saints of Cairo.

 

Patron: Tewfik Pasha (Muḥammad 'Ali Tawfīq Bāshā) 1852-1892, eldest son of Khedive Ismail, Khedive (Ottoman viceroy) of Egypt & Sudan (r.1879-1892).

 

Semiz Ali Pasha (Semiz, fat in Turkish) was an Ottoman Serb statesman from the Sanjak of Bosnia who served as Grand Vizier of the Ottoman Empire (r.1561-1565), beylerbey (governor) of Egypt Eyalet (r.1549-1553).

 

Islamic Monument #620

Photo: www.truphotos.com

 

'Kimono in:tangible' presented fashion garments and objects created by fourteen groups of students from Level 2 BA (Hons) Fashion Design and Textiles and BA (Hons) Fashion Media and Industries. The exhibition reflected on the value ascribed to vintage clothing, and how historical artefacts can be re-interpreted for contemporary audiences and consumers.

 

The garments and objects were inspired by the kimono, a full-length wide-sleeved robe originating in Japan in the late eighth century. To develop their designs, the students researched traditional Japanese fashion and culture, and how these could be translated for a global audience. Made through various processes of deconstruction and reconstruction, the final garments and objects express less tangible aspects of fashion and material culture, such as the meanings and memories associated with the kimono by previous wearers and generations.

 

Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014

 

„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”

 

Photo by Fred Pacífico

©2014 Philipp Geist / VG BIldkunst Bonn

 

Rio de Janeiro / Brazil 2014

Christ statue (Cristo Redentor) – May 12

Dona Marta favela – May 15 and 16,2014

 

Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014

on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,

2014

 

Installation Philipp Geist Year of Germany in Brazil 2013/2014

Concept Time Drifts May 2014

 

At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)

develops two light installations in Rio this year; the first one on the world-famous Christ statue

(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the

artist presents artistic-liberal and poetic German and Brazilian themes and develops a building

and floor light installation of colored words and phrases in Portuguese, German, and in other

international languages. The installation deals with cultural characteristics and achievements of

both countries and visualizes the issues of time and space, volatility and presence in a free

artistic style. The two projects are in fact a double project which is combined. The installation

on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small

buildings and huts of the favela. The Christ statue, which has been built to protect the city and

the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The

installation in the favela will be seen not only on a facade as a large cinema projection or as a

static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the

visitor becomes a part of the installation and can immerse into the projection and the light and

introduce himself. Chalk crayons are put out on the streets in the favela and the young and old

residents and visitors can write and paint words on the street, the ground, the stairs or even on

the house walls. The residents and several institutions should be addressed to submit words and

associations dealing with Rio, Brazil and Germany.

For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the

German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.

The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various

currents and voices in cultural contexts and to provide institutions and visitors with the

opportunity of substantive participation: different personalities, visitors and institutions may be

addressed in advance and then contribute words and associations. Current and historico-cultural

topics are researched in advance by the artist and then integrated in a sensitive and subtle way.

The projection dismisses the use of screens, because concepts and associations are projected on

a large area onto the floor surface on several facades and in theater fog. Over the course of two

days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo

Redentor on May 12 for a day.

Short, tall, young and old visitors can interactively participate in the installation by tracing and

adding words with colored chalk crayons available on the streets. Thus, over the period of the

installation, a carpet of words is evolved with terms that are contributed locally by the visitors

by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this

way a dialogue between the place, the visitors and his artistic work.

The concrete, tangible projection of the architecture and the static terms on the floor area

represents the facts and visible relics that are responsible for our understanding of history. The

transparent and volatile projection in the fog reminds us that part of the history can not be

preserved and that it is created in our individual imagination in a single moment. Words are

briefly visible as a metaphor for transience and then disappear again. This interplay of the

various text and image layers in the space refers to the location and the history/-ies of Brazil

and Germany and the cultural exchange between the two countries. The visitors themselves are

part of the installation: they dive into the large floor projection. In this way, different

perspectives and experiences of space are unified. Abstract passages which are created, then

overlapped and displaced by each other symbolize the constant changes in history, the passage

of time and the transience of existence. Even the understanding of the past is in the flux. The

modern writings and formations created on the computer establish a connection to the present

and the possibilities of today's technology and show that the perception of history and culture

depends always on the possibilities and constraints of the present.

'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent

years by Philipp Geist, and which are always re-developed site-specifically and adapted to the

local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer

Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012

the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000

visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the

'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the

Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in

Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3

million visitors saw his facade installation at the royal throne in Bangkok. Other projects

include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'

at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop

(Germany, 2008).

Geist's projects are primarily characterized by their complexity concerning the integration of

space, sound and motion images. His video mapping installations waive screens and transform a

wide range of architectures in moving, picturesque light sculptures which challenge the viewer's

perception of two- and three-dimensionality.

  

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

  

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

 

Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil

2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de

2014

 

Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014

Conceito Time Drifts Maio 2014

 

No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá

duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do

Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros

de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e

no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas

internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países

e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.

Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na

estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos

pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para

proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma

favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de

cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e

nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar

na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e

visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas

escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão

convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a

Alemanha.

Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o

'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria

Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias

correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a

oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser

contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos

e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma

sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são

projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em

fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e

em 12 de maio, por um dia, no Cristo Redentor.

Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com

giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta

maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras

serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.

Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.

A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do

solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A

área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não

pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.

Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,

desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se

à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois

países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção

do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens

abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças

contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do

passado também está no fluxo. As fontes e formações modernas criadas no computador

estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a

percepção da história e da cultura sempre dependende das capacidades e limitações do

presente.

'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas

durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições

locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça

Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower

(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt

onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em

2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver

bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing

foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do

aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do

artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado

museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;

Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).

Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de

espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam

telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que

desafiam a percepção do espectador de duas e três dimensões.

  

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

  

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

 

Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014

an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014

 

Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014

Konzept Time Drifts Mai 2014

 

Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler

Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue

(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation

greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und

entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in

portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert

kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit

und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt

es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von

Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten

der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu

schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die

Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches

Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf

den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die

Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide

ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den

Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und

verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,

Brasilien und Deutschland stehen einzureichen.

Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen

Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet

sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und

Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die

Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,

Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen

beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert

und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von

Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf

mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die

Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai

für einen Tag zu sehen sein.!

Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger

Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an

der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus

Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'

der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog

zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !

Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der

Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis

ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,

dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen

Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und

verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im

Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen

Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die

großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven

und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig

verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und

die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die

modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung

zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit

von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart

abhängig ist.

'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten

Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch

weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer

Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die

Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen

und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts

in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die

Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen

anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine

Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'

am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,

'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).

Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von

Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und

verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die

Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.

Hythe is now a large and busy town, stretching from the terminus of the Romney Hythe and Dymchurch Railway in the west (and even a little further), to the long sandy beach and coast road that lead to Sandgate and Folkestone. It also creeps west, up the downs and valleys of the North Downs. It also is the start of the Military Canal. Hythe also has a vibrant high street, with many independent shops, as well as both a Sainsbury's and Waitrose. Which speaks about the town's demographic.

 

It even has an industrial area, where Jools works, and a stony beach which serves as a harbour for a small fleet of fishing boats as the harbour itself silted up in antiquity.

 

St Leonard itself sits up on the slopes of the down, in a flattened area that was some feat in itself. The church is very large and heavily Victorianised, but well worth an hour or two of anyone's time. And it is most well known for the ossuary which lies beneath the chancel, and is open during the non-winter months.

 

It is some climb up from the town, up two layers of roads which run parallel with the main street, up steepish steps, past the old Hospital, now two flats call Centuries, until you come to the church, but then there are more steps up to the porch and then into the church itself. And if there hadn't already been too much climbing, there are more steps up to the chancel and side chapels.

 

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A large civic church, as befits one of the original Cinque Ports. Traces of the Norman building may still be seen in the blocked round-headed windows in the north wall of the nave and the excellent Norman arch at the east end of the south aisle. The chancel is thirteenth century in origin, completed by Pearson in 1886. The pulpit is a great piece of Victorian craftsmanship, designed by George Edmund Street in 1876. The three-light stained glass in the east window is by Wallace Wood and dates from 1951. There are Royal Arms of the reign of William and Mary. The chancel has a triforium gallery, an unexpected find in a parish church. A circular staircase runs from the north-west corner linking the triforium, rood loft and roof. Under the chancel is an interesting processional passage, open to the public during the summer, which contains hundreds of skulls collected from the churchyard during clearances. In the churchyard is the grave of Lionel Lukin, who obtained a patent for his invention - the lifeboat - in 1785.

 

www.kentchurches.info/church.asp?p=Hythe

 

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lthough it is now difficult to imagine, Hythe's rise and development stems from its former role as a busy Channel port.

 

St Leonard's stands far from the sea today, but when the first Norman church was built, in c.1080, the high Street formed the quayside of the Cinque Port of Hythe.

 

The earliest known reference to a church in the town is found in the contemporary Doomesday Monarchum. Some writers believe that the north transept, now called St Edmund's Chapel, may have then incorporated a Saxon place of worship; a Saxon-style arch is still plainly visible.

 

In medieval times St Leonard's was described as "Hethe Chapel" despite possessing a magnificence which other Kentish folk would have envied.

  

Successive Archbishops of Canterbury held a large estate at Saltwood near Hythe and are believed to have been responsible for the enlargement of the church in c.1120, probably using some of the craftsmen who built the cathedral in Canterbury.

 

Aisles and transepts were added and a new, more elaborate choir with small apse was fashioned. Entry was through a west door where the interior tower wall still stands. Many Norman features can still be seen; the arches in the south aisle and in the choir vestry, as well as the remains of two windows above the north aisle.

 

By c.1220 fashions in architectural style had changed. With a growing number of pilgrims visiting the church, further enlargements were carried out. Perhaps in an attempt to build a mini-Canterbury Cathedral, and certainly with that inspiration, the civic pride of the townsfolk gave birth to the present church.

The ambitious project was launched when Hythe was at the height of its prosperity, and the magnificent chancel and ambulatory beneath ( now incorrectly known as the crypt ) are the result.

 

The only reason we can still see the remains of the previous churches is that the town's prosperity later waned and the plan could not be fully carried out.

 

Some improvements were made in the 14th Century, notably the building of the tower and the porch with a room above to house the parish priest, but these were on a less lavish scale than before.

 

During the Reformation the rich decoration which filled the church was stripped away. Wall paintings, rood screen and statues were destroyed, alters removed and pews added for the first time.

 

Throughout the 16th and 17th centuries the interior would have appeared remarkably plain. Only the iron "Armada" chest which used to contain the parish registers survives as a tangible reminder of the period.

 

The west tower of the medieval church collapsed in 1739; possibly it had finally succumbed to weakness created by a severe earthquake of 1580. The ferocity of the tremors was reported to have made the church bells ring and caused dangerous cracks in nearby Saltwood Castle.

 

A newspaper reported: "We learn from Hythe that on Thursday morning last, about eleven o'clock, the steeple of their church fell down, and that they have been busy digging out the bells, being six in number. About ten persons were present when it fell, waiting for keys in the church porch to go up the steeple for a view. But some delay being made in bringing them, they all happily saved their lives, and no other damage than being terribly frightened.

The tower was subsequently reconstructed in 1750, using the old materials, with the south transept being rebuilt the following year, largely through the generosity of the Deedes family, many of whose ancestors are buried there.

 

There was a clock in the tower before 1413, although the present instrument dates from 1901.

 

A peal of at least five bells is recorded before the 1480s. Subsequently there were normally eight, two bells being added in 1993 to make the full peal of ten.

 

In the 18th century the nave was surrounded by galleries to provide enough seating for the town's growing population. Poorer people sat up there while the best pews below were ' rented out ' to wealthier worshippers.

In 1751 the Deedes family rented one such pew for themselves and four more for their servants.

The mayor and the town corporation had their own pews at the front. Present councillors still sit at the front, in the pews with carved poppy-heads.

 

urial vaults were made outside the church in the later 18th and early 19th cenuries.

 

In 1875 and 1887 restorations to the church were carried out at a cost of £10,000. Two of the finest

Victorian architects, George Street and John Pearson, were employed. Street designed the Law Courts

in the Strand.

 

At St Leonard's the two men successfully completed many of the features which the original medieval craftsmen had intended to incorporate before the funds dried up. The vaulting to the chancel and aisle roofs was completed in 1887, albeit five centuries overdue. The present barrel-shaped roof in the nave dates from 1875. The pulpit with its fine Venetian mosaic work, composed of 20,000 pieces, is of the same date.

 

Many of the fittings introduced at that time were in keeping with the medieval devotional life of the church. Amongst these is an especially fine marble reredos which originally stood behind the alter, but is now situated in the south choir aisle. This is a masterpiece of artistic work, given by a former curate in memory of his wife. There is a Pre-Raphaelite touch in the depiction of the angels, and its deep swirling lines give it an almost sultry appearance. It was carved from a single piece of carrera marble in 1881 by Henry Armstead to the designs of George Street. It was moved to its present position in 1938.

 

Two features in the church bring the visitor abruptly into the 20th century. In the south aisle a remarkable stained-glass window commemorates 2nd Lieutenant Robert Hildyard who was killed, with over a million others, on the Somme in 1916. The window has a dreamy, surreal effect, and is a fine example of the art nouveau style.

The present fine organ built in 1936 by Harrison & Harrison, is the latest in a long line dating back to the 15th century.

 

Most visitors are impressed by the main east window which shows Christ, surrounded by angels, ascending to heaven. The Victorian glass which once occupied the space was destroyed in 1940 when a german bomb struck the ground at the east end of the church causing extensive damage.

The present east window was dedicated in 1951 and reflects the long-term role played by the town of Hythe in the front line of England's defence. A Cinque Port ship can be seen in the panel at the bottom left, and an anti-aircraft gun and searchlights in the right-hand panel.

 

The only structural alteration to the church in the 20th century was the building of the choir vestry on the north side in 1959, enclosing the fine Norman arch of the second church.

 

St Leonard's maintains a strong musical heritage with concerts and recitals being held regularly in the church. The worship continues to be enriched by a strong choral tradition which stretches back several centuries. The church building is continuously being developed and restored through the fundraising efforts of the parishioners.

 

St Leonard's church remains passionately committed to discovering God wherever he might be encountered in the word, in sacraments, in the beauty of this place and in the love shared between its parishioners.

New approaches and styles of worship, as well as the traditional forms of service, all seek to deepen further the spiritual health and maturity of the faithful, who keep returning, time and time again, to seek God in a holy place.

 

www.stleonardschurchhythekent.org/stlh.html

 

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THE parish of Hythe, at this time within the liberty of the Cinque Ports, and the corporation of the town of Hythe was antiently, with part of the parish of West Hythe, within an hundred of its own name.

 

It is called in some antient records, Hethe; in Domesday, Hede; and according to Leland, in Latin, Portus Hithinus; Hithe signifying in the Saxon, a harbour or haven. (fn. 1) In the year 1036, Halden, or Half den, as he is sometimes, and perhaps more properly written, one of the Saxon thanes, gave Hethe and Saltwood, to Christ-church, in Canterbury. After which they appear to have been held of the archbishop by knight's service, by earl Godwin; (fn. 2) and after the Norman conquest, in like manner by Hugo de Montfort, one of those who had accompanied William the Conqueror hither, at which time it was accounted only as a borough appurtenant to the manor of Saltwood, as appears by the book of Domesday, taken in the year 1080, where, under the title of lands held of the archbishop by knight's service, at the latter end of the description of that manor, it is said:

 

To this manor (viz. Saltwood) belong two hundred and twenty-five burgesses in the borough of Hede Between the borough and the manor, in the time of king Edward the Confessor, it was worth sixteen pounds, when he received it eight pounds, and now in the whole twenty-nine pounds and six shillings and four-pence .

 

Besides which, there appears in the description of the archbishop's manor of Liminge, in the same record, to have been six burgesses in Hede belonging to that manor. Hythe being thus appurtenant to Saltwood, was within the bailiwick of the archbishop, who annually appointed a bailiff, to act jointly for the government of this town and liberty, which seems to have been made a principal cinque port by the Conqueror, on the decay and in the room of the still more antient port of West Hythe, before which it had always been accounted within the liberty of those ports, which had been enfranchised with several privileges and customs, though of what antiquity they were, or when first enfranchised, has not been as yet, with any certainty, discovered; and therefore they are held to enjoy all their earliest liberties and privileges, as time out of mind by prescription. The quota which the port of Hythe was allotted to furnish towards the mutual armament of the ports, being five ships, and one hundred and five men, and five boys, called gromets. (fn. 3)

 

The archbishop continued in this manner to appoint his bailiff, who acted jointly with the jurats and commonalty of the town and port of Hythe, the senior jurat on the bench always sitting as president, till the 31st year of king Henry VIII. when the archbishop exchanged the manor of Saltwood, together with the bailiwick of Hythe, with the king for other estates elsewhere. After which a bailiff continued to be appointed yearly by the crown, till queen Elizabeth, in her 17th year, granted them a particular charter of incorporation, by the name of mayor, jurats, and commonalty of the town and port of Hythe, under which they continue to be governed at this time; and she likewise granted to the mayor and his successors, all that her bailiwick of Hythe, together with other premises here, to hold by the yearly fee farm of three pounds, by which they are held by the corporation at this time.

 

The liberty of the town and port of Hytheextends over the whole of this parish, and part of that of West Hythe, which indeed before the harbour of it failed, was the antient cinque port itself, and to which great part of what has been said above of the antient state of Hythe likewise relates, but not over the scite of that church. The corporation consists of a mayor and twelve jurats, of which he is one, and twenty-four common councilmen, together with two chamberlains and a town-clerk. The mayor, who is coroner by virtue of his office, is chosen, as well as the other officcers of the corporation, on Feb. 2d yearly, and, together with the jurats, who are justices within this liberty exclusive of all others, hold a court of general sessions of the peace and gaol delivery, together with a court of record, the same as at Dover; and it has other privileges, mostly the same as the other corporations within the liberties of the five ports. It has the privileges of two maces. The charters of this corporation, as well as those of the other cinque ports, were in 1685, by the king's command, surrendered up to colonel Strode, then governor of Dover castle, and were never returned again.

 

Hythe has no coat of arms; but the corporation seal represents an antique vessel, with one mast, two men in it, one blowing a horn; and two men lying on the yard arm.

 

The PRESENT TOWN OF HYTHE is supposed to owe its origin to the decay of the antient ports of Limne and West Hythe, successively, the harbours of which being rendered useless, by the withdrawing of the sea, and their being banked up with sand, occasioned this of Hythe to be frequented in their stead, and it continued a safe and commodious harbour for considerable length of time, till the same fate befel it likewise, and rendered it wholly useless; and whoever, as Lambarde truly observes, considers either the vicissitude of the sea in different places, and the alterations which in times past, and even now, it works on the coasts of this kingdom, will not be surprized that towns bordering upon the sea, and supported by traffic arising from it, are subject in a short time to decay, and become in a manner of little or no consequence; for as the water either flows or forsakes them, so they must of necessity flourish or decay, flowing and ebbing, as it were, with the sea itself. (fn. 4) Thus after the sea had retired from the town of West Hythe and its haven, the former fell to decay, and became but a small village of no resort, and the present town of Hythe, at two miles distance, to which it was continued by a number of straggling houses all along the shore between them, rose to prosperity, and its harbour became equally noted and frequented in the room of it; so that in a short time the houses and inhabitants increased here so greatly, that Leland says there was once a fair abbey in it, and four parishes and their churches, one of which was that of our Lady of Westhithe, which shews that West Hythe was once accounted a part of the town itself. But this must have been in very early times; for long before king Richard II.'s reign, I find it accounted but as one single parish. The town and harbour of Hythe were by their situation always liable to depredation from enemies; in particular, earl Godwin, when exiled, returned in 1052, and ravaging this coast, took away several vessels lying at anchor in this haven, and Romney; and in king Edward I.'s reign, anno 1293, the French shewed themselves with a great fleet before Hythe, and one of their ships, having two hundred soldiers on board, landed their men in the haven, which they had no sooner done, but the townsmen came upon them and slew every one of them; upon which the rest of the fleet hoisted sail, and made no further attempt. In the latter part of king Richard the IId.'s reign, a dreadful calamity happened to it, when more than two hundred houses of it were burnt down in one day; (fn. 5) and five of their ships were lost, and one hundred men drowned, by which misfortunes the inhabitants were so much impoverished and dispirited, that they had thoughts of abandoning the place, and building themselves a town elsewhere; but king Henry IV. by his timely interposition, prevented this, and by charter released them from their quota of shipping for several turns. The following is Leland's description of it, who wrote in king Henry VIII.'s reign, "Hythe hath bene a very great towne yn lenght and conteyned iiii paroches, that now be clene de stroied, that is to say, S. Nicholas paroche, our Lady paroche, S. Michael paroche, and our Lady of West Hithe, the which ys with yn less than half a myle of Lymne hill. And yt may be well supposed that after the haven of Lymne and the great old towne ther fayled that Hithe strayt therby encresed and was yn price. Finally to cownt fro Westhythe to the place wher the substan of the towne ys now ys ii good myles yn lenght al along on the shore to which the se cam ful sumtym, but now by banking of woose and great casting up of shyngel the se is sumtyme a quarter, dim. a myle fro the old shore. In the tyme of king Edw 2 ther were burned by casuelte xviii score houses and mo, and strayt followed a great pestilens, and thes ii thinges minished the towne. There remayn yet the ruines of the chyrches and chyrch yardes. It evidently appereth that wher the paroch chirch is now was sumtyme a fayr abbey, &c. In the top of the chirch yard is a fayr spring and therby ruines of howses of office of the abbey. The havyn is a prety rode and liith meatly strayt for passage owt of Boleyn; yt croketh yn so by the shore a long and is so bakked fro the mayne se with casting of shingil that smaul shippes may cum up a large myle towards Folkestan as in a sure gut." Though Leland calls it a pretty road, yet it then seems to have been in great measure destroyed by the sands and beach cast up on this shore, by the desertion of the sea, for he describes it as being at that time as only a small channel or gut left, which ran within shore for more than a mile eastward from Hythe towards Folkestone, that small vessels could come up it with safety; and the state of the town and trade of it in queen Elizabeth's time, may be seen by a survey made by her order in her 8th year, of the maritime parts of this county, in which it was returned, that there were here, a customer, controller, and searcher, their authority several; houses inhabited, 122; persons lacking habitation, 10; creeks and landing places two; th'on called the Haven, within the liberties; th'other called the Stade, without the liberties. It had of shipping, 17 tramellers of five tunne, seven shoters of 15; three crayers of 30, four crayers of 40; persons belonging to these crayers and other boats, for the most part occupied in fishing, 160.

 

Soon after this, even the small channel within land, above-mentioned, which served as the only remaining harbour, became likewise swarved up and lost, though it had the advantage of the Seabrook, and other streams, which came down from the down hills, as a back water, to keep it scowered and open; and though several attempts were from time to time afterwards made, at no small expence and trouble, to open it again, yet it never could be effected; and the abovementioned streams, for want of this channel, flow now towards the beach on the shore, and lose themselves imperceptibly among it.

 

The parish of Hythe, which is wholly within the liberty of the corporation, extends from the sea shore, the southern bounds of it, northward up the hill a very little way beyond the church, which is about half a mile, and from the bridge at the east end of the town westward, about half way up the hill towards Newingreen, being more than a mile and an half. The town, which contains about two hundred houses, is situated exceedingly pleasant and healthy, on the side as well as at the foot of the quarry-hill, where the principal street is, which is of a handsome breadth, and from the bridges at the extremities of it, about half a mile in length. It has been lately new paved, and otherwise much improved. The court-hall and market place are near the middle of it, the latter was built by Philip, viscount Strangford, who represented this port in parliament anno 12 Charles II. His arms those of the five ports; of Boteler; and of Amhurst, who served likewise in parliament for it, and repaired this building, are on the pillars of it. There are two good inns; and near the east end of it St. John's hospital. Higher up on the side of the hill, where the old town of Hythe is supposed once to have stood, are parallel streets, the houses of which are very pleasantly situated; several of them are handsome houses, occupied by genteel families of good account, the principal one of them has been the seat of the family of Deedes for several generations.

 

This family have resided at Hythe, in good estimation, for upwards of two hundred years; the first of them that I meet with being Thomas Deedes, who by Elizabeth his wife, sister of Robert Glover, esq. Somerset herald, a most learned and judicious antiquary, had one son Julius Deedes, whose youngest son Robert had a grant of arms confirmed to him, and Julius his nephew and their heirs, by Byshe, clarencieux, in 1653, Per fess, nebulee, gules and argent, three martlets, counter changed , which have been borne by the different branches of this family ever since. William, the youngest son but one, left a son William, the first who appears to have resided at Hythe. He died in 1653, and was buried in this church, which has ever since remained the burial place of this family. He had one only son Julius Deedes, esq. who was of Hythe, for which he was chosen in three several parliaments, and died in 1692, having had three sons, of whom William, the eldest, was ancestor to the Deedes's of Hythe, and of St. Stephen's, as will be mentioned hereafter; Henry, the second son, was of Hythe, gent. whose eldest son Julius, was of Hythe, esq. and died without surviving issue, upon which this seat, among the rest of his estates, came by the entail in his will, to his aunt Margaret Deedes, who dying unmarried, they came, by the same entail, to her cousin William Deedes, esq. late of Hythe, and of St. Stephen's, being descended from William, the eldest son of Julius, who died in 1692, and was a physician at Canterbury, whose son Julius was prebendary of Canterbury, and left one son William, of whom hereafter; and Dorothy, married to Sir John Filmer, bart. of East Sutton, by whom she had no issue. William Deedes, esq. the only surviving son before-mentioned, of Hythe and St. Stephen's, possessed this seat at Hythe, with several other estates in this neighbourhood, by the above entail. He married Mary, daughter of Thomas Bramston, esq. of Skreens, in Essex, and died in 1793, leaving surviving two sons, William, of whom hereafter; John, who married Sophia, daughter of Gen. Forbes, and one daughter Mary, unmarried. William Deedes, esq. the eldest son, is now of Hythe, and married Sophia, second daughter of Sir Brook Bridges, bart. by whom he has two sons and three daughters.

 

Further westward is St. Bartholomew's hospital. Opposite Mr. Deedes's house, but still higher up, with a steep ascent, is the church, the hill reaching much above it northward. On the upper part of this hill, are several springs, which gush out of the rock, and run into the streams which flow at each end of the town. All the houses situated on the side of the hill, have an uninterrupted view of the sea southward, Romney Marsh, and the adjoining country. The houses throughout it are mostly modern built, and the whole has a neat and chearful appearance. There is a boarding-school kept in the town for young ladies, and on the beach there are bathing machines for the accommodation of invalids. There was formerly a market on a Saturday, which has been long since discontinued, though the farmers have for some time held a meeting here on a Thursday, for the purpose of selling their corn; and two fairs yearly, formerly held on the seasts of St. Peter and St. Edmund the King, now, on July 10th and December 1st, for horses and cattle, very few of which are brought, and shoes and pedlary.

 

¶ Here is a small fort, of six guns, for the protection of the town and fishery, which till lately belonged to the town, of which it was bought by government, but now rendered useless, by its distance from the sea, from the land continuing to gain upon it; the guns have therefore been taken out. Soon after the commencement of the war, three new forts, of eight guns each, were erected, at the distance of a mile from each other, viz. Twis, Sutherland, and Moncrief; they contain barracks for 100 men each. Every summer during the present war a park of royal artillery has been established on the beech between the forts and the town, for the practice of guns and mortars; and here is a branch of the customs, subordinate to the out port of Dover. This town is watered by two streams; one at the east end of it, being the boundary between this parish and Newington; and the other at the west end, called the Slabrooke, which comes from Saltwood, and runs from hence, by a channel lately made for that purpose, into the sea, which has now left this town somewhat more than half a mile, much the same distance as in Leland's time, the intermediate space being entirely beach and shingle-stones, (the great bank of which lines this shore for upwards of two miles in length) on which, at places, several houses and buildings have been erected, and some parts have been inclosed, with much expence, and made pasture ground of, part of which is claimed by different persons, and the rest by the corporation as their property.

 

The CINQUE PORTS, as well as their two antient towns of Rye and Winchelsea, have each of them the privilege of returning members, usually stiled barons to parliament; the first returns of which, that are mentioned for any of them, are in the 42d year of king Edward III.

 

www.british-history.ac.uk/survey-kent/vol8/pp231-253

 

Perhaps not since the time of World War II have Australians felt so strongly about the comforts of home, while many are trapped in overseas countries with little chance of returning quickly. Home then becomes a haven and shelter, a place to feel safe and secure. With share markets declining everywhere, perhaps we seek solace in the more tangible and perhaps comforting purchase of art to fill our walls whilst we work from home.

 

That might just do it. If the Deutscher + Hackett sale of Aboriginal art is anything to go by, where 80% of art sold to local Australian collectors, then a further litmus test and test of confidence would be the large Davidson Auctions’ sale of Australian and International Art on Sunday, which had combined low estimates of $444,000 and high estimates of $731,000 for the 472 lots. The sale proved to be very successful, generating a total of $450,000 hammer price and a 80% clearance rate.

 

[caption id="attachment_6156" align="alignleft" width="235"] Herbert Badham’s work remains not just highly sought after, but very rare to market. A delightful, late painting by the artist proved again his popularity: Lot 23, Snow in Courtfield Gardens, 1955, sold for $11,000 on hopes of $2,000-4,000.[/caption]

 

In the week before the sale, principal Robert Davidson had informed prospective buyers that the auction house would absorb the online bidding fee of 5% charged by the online auction platform Invaluable.com on top of the standard buyer’s premium.

 

With this unprecedented move, Davidson may well have eliminated a major barrier to bidders, not only the ones who were not prepared to risk the new inherent dangers of room bidding due to coronavirus, but all bidders wherever they are located.

 

This seems to have proved a savvy step, and even though it demonstrates the power that companies like Invaluable.com have, these platforms may become even more important than they have ever been, for auctioneers, sellers and buyers.

 

The Davidson sale started off well with several typical works by Australian masters: the first lot to be sold was somewhat poignantly Schoolgirl Crying, 1953 (lot 2), a pencil sketch by Charles Blackman which sold on its low estimate of $1,600 hammer price.

 

Three paintings by David Boyd (lots 3, 4 and 5) estimated at $7,000-11,000, $5,000-7,000 and $3,500-5,000 sold for $8,000, $4,750 and $3,500 respectively.

 

A Brett Whiteley screenprint Swinging Monkey, 1965 (lot 6) sold on hopes of $2,500-3,500 for $4,250. This was followed by three appealing and typical Russell Drysdale drawings: At the Bar ( lot 7), sold for $3,500 mid-estimate, Country Child (lot 8) sold for $3,250 on estimates of $2,000-4,000, and Drover Resting (lot 9) sold on the low estimate for $2,000.

 

A Norman Lindsay oil Nude in a Glade (lot 13), was offered at $8,000-12,000 and sold for $8,500, whilst the watercolour At Tavern Close (lot 14), sold for the same price on hopes of $7,000-11,000.

 

Herbert Badham’s work remains not just highly sought after, but very rare to market. A delightful, late painting by the artist proved once again his popularity, when Snow in Courtfield Gardens, 1955 (lot 23), on expectations of $2,000-4,000 soared to $11,000 with room and online bids aplenty.

 

3 out of 4 paintings by Hugh Sawrey also sold well, the best result achieved for The Camp at the Seven Mile… (lot 24), estimated at $10,000-12,000 and selling for $9,500.

 

A tiny painting measuring just 30 x 30 cm by Australian abstractionist giant Elizabeth Cummings (lot 31) achieved an impressive $2,750 on hopes of $1,800-3,500, while our other leading abstract master Tony Tuckson also achieved good results: Untitled, Woman at Table (lot 41) sold for $3,250 just below the low estimate of $3,500 and Abstract on Newsprint – Red and Black (lot 42) on $1,500-2,500 hopes sold for a newsworthy $4,000. The third Tuckson TD 4550 (lot 43), a very small 10.5 x 15.5 cm sold for $2,250, estimated at $800-1,200.

 

An unusually large painting in William Blamire Young’s chosen medium of watercolour Horse Team Crossing Australian River Landscape (lot 60) sold for an unusually large price: estimated at $8,000-12,000, it sold for a stunning $18,000. This sale put this work as the fourth highest price recorded for the artist after Mauls and Wedges, 1927-29, sold by Leonard Joel in September 2013 for $22,000 hammer price.

 

Five paintings by Roland Wakelin all sold, including The Harbour from Berry’s Bay (lot 61) for $1,800 on estimates of $2,000-4,000.

 

3 paintings by D’Arcy Doyle also sold, including Taking Dad’s Advice (lot 67), selling mid-estimate for $5,500.

 

5 Pro Hart paintings sold, with Race Meeting, 1974 (lot 72) racing to a hammer price of $4,000 above its high estimate of $3,500.

 

There were 5 paintings by Alison Rehfisch offered in the sale, of which a very respectable 4 found buyers, with an excellent result of $6,500 for Brick Kiln (lot 79), estimated at $2,500-4,500.

 

Norman Lindsay etchings have been in the doldrums lately, but fortunes were reversed with the lovely selection offered at Davidson’s: lots 110 to 115B provided good buying opportunities. The best result was achieved for a delightful group of 3 original etchings from 1922 with editions of 55; estimated at $3,500-4,500, they sold for $4,000.

 

The sleeper award of the auction went to Alan Oldfield’s Three Objects and Cubist Landscape (lot 159): with modest estimates of $250-450, it achieved a multiple of almost 10 times the low estimate and selling for $2,250.

 

Davidson Auctions have been successfully selling works by international artists since the start of their operations, and this surely was their big test. However, absorbing the 5% Invaluable online bidding fee may have been further enhanced by the drop of the Australian dollar against the US dollar as well as the British pound and may have encouraged overseas buyers even more.

 

One of Davidson’s more unusual international success offerings are paintings by prominent Mauritian painter Malcolm de Chazal (1902 – 1981). In this sale, 15 paintings were on offer, and a very impressive 13 of these sold, with the best results for Tropical Buildings and Palm Tree (lot 182) of $2,500 on estimates of $1,000-2,000.

 

American George Condo is a darling of the contemporary art world, and when 6 of the artist’s large-scale etchings and aquatints from the early part of his career are offered, unsurprisingly, interest levels are very high. All 6 prints sold, with the highest price achieved for More Sketches of Spain for Miles Davies, 1991 (lot 232), selling for $1,900 and thereby more than doubling the low estimate of $800.

 

Four Joan Miro aquatints from 10 years earlier 1981, and the latter part of the artist’s career, also received very strong bidding. Again, all sold well above expectations, for example lot 229 for $1,400 hp on hopes of $300-500.

 

Another exceptional result was achieved in the middle of the sale, when the highly atmospheric Boats on the Yarra (lot 274) by Aileen Dent on hopes of just $400-700 sailed away to reach $2,750.

 

A Charles Conder pen and ink sketch (lot 344) did well for the seller: estimated at just $200-400, it sold for $1,400.

 

Manly’s very own social realist painter of the 1940s, Harold Greenhill, is strongly represented with a dozen works in the Manly Art Gallery collection. A very good example of his work, Neighbours, Oyama Street, Manly, 1946 (lot 347) carried estimates of $1,500-3,000 and unsurprisingly sold well above for $3,750.

 

Speaking with Robert Davidson, he was naturally very pleased with the success of his sale. He told us that he had decided to absorb the 5% Invaluable.com fees to assist many of his regular clients who would have found it difficult to be in the room in the current circumstances. His collectors saw this as a sensible and helpful concession. Would he do it again? – Depending on the situation, the answer would probably be Yes.

 

Davidson Auctions already have a strong online bidding clientele of around 30%, and noticed a lift in this sale up to around 40%.

 

Robert Davidson said he could well imagine his next sale without any bidders in the room, depending on government restrictions, and does not necessarily see this as an impediment.

 

He also pointed out that there was a lot of goodwill for his sale and that his clients wanted to see “business as usual” and as unaffected as possible by the current crisis.

 

We also spoke with Chris Deutscher, director of Deutscher + Hackett, whether they had noticed significant changes in buyer behaviour in their stand-alone Aboriginal art sale last week. As reported on AASD, 80% of sales were to local buyers. Within the international component, France were active, while the US were a little down. Chris Deutscher said that the Aboriginal art market had expanded in recent times, hence their move towards their first stand-alone Aboriginal art auction since 2016. The room audience was reduced to about half, but according to Deutscher, buyers who did not attend mostly moved to phone bidding, as the 5% Invaluable.com online bidding fees are understandably somewhat of a deterrent to buyers of higher value lots.

 

Generally D+H buyers however just watch the auction online and use phone bidding to participate in the sale. He said it was noticeable that all of the people in the saleroom were serious bidders, which made for a lively room experience. Like Robert Davidson, Chris Deutscher said that what they felt from their buyers in particular was a huge amount of goodwill, very much wanting to support this sale in these difficult times.

 

Chris Deutscher also told us that due to the uncertainty caused by the Covid-19 crisis, their May fine art sale had been rescheduled to 17 June 2020.

 

Article originally published in Australian Art Sales Digest, 23 March 2020

 

Davidson Auctions Takes Online Bidding at Home to New Heights was first published to: Banziger Hulme Fine Art Consultants