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Architecturally, Stoke Dry is an unassuming church in an unassuming village. Visually, it’s nothing to write home about at all. It’s all a bit out of proportion: the tower is positively anorexic; the nave is too narrow for its height; the aisles are asymmetrical. It was surely designed by a committee.
It started life in the c12 aisleless and rectangular in plan. It probably occupied the same space as the present nave and chancel. Very little of it is left, although part of the Norman walling remains in the chancel. On the c14 chancel arch, however, two original Norman shafts remain and these really are wonderful, covered as they are in interwoven designs and carvings.
A south aisle was added in the early c13, but only the arcade remains. The other remnant of this phase of building is the rather bizarrely-placed Early English lancet window on the west end of the tower. The tower itself dates from later in the c13, replacing the usual Rutland bellcote so this lancet window was probably relocated here from the west wall itself.
The north aisle was added in around 1300, possibly replacing an earlier one. During the next 30 years a chapel was built on the south side of the chancel, although at this point there was no connection through to it from the chancel. The present chancel was also modelled at this time, probably using a lot of the Norman masonry. A Norman string course is still visible in the chancel although probably not in its original position.
The Church Guide suggests that the chantry chapel on the south side of the chancel is the oldest part of the church. This is supported by the marvellous wall paintings depicting St Christopher with Christ on his shoulders and, better still, poor St Edmund being perforated by Danish archers! These are executed in wonderful naive style: real folk art from all of 800 years ago. Also in the chapel is the monument to Sir Everard Digby (d. 1541).
The chancel has another Digby monument - this time to Sir Kenelme Digby who did in 1590. It is his grandson, another Sir Everard Digby, who provides this church with its best story. That Sir Everard was a prime mover in the Gunpowder Plot and was hanged for it in 1606. He got off lightly compared with the atrocities committed on some of his co-conspirators The North Porch and parvise room in this church were added during the Tudor period. Legend, now generally discredited, had it that the Plot itself was hatched in the parvise room. A good story, but how would anyone know, one way or the other?
Other Digby family effigies can be seen at Coleshill Church, in Warwickshire. This, as you will see if you look at its page, was the town where I went to school. Unsurprisingly, perhaps, one of the “houses” in the school was “Digby”. All the houses were named after great Midlands families. Mine was “Montfort” and like the Digbys the family had its reasons for notoriety. Simon de Montfort, of course, is famous as the “founder” of the English parliament, but his father was another matter. To find about him visit my page on St Mary Bourne in Hampshire and read Footnote 1.
The interest in this church is rounded off by yet more mediaeval paintings: c14 work in the chancel; the twelve tribes of Israel on the clerestory from the c16. In many ways Stoke Dry epitomises the way in which the unassuming English parish church can be packed with historical interest just waiting to enthrall the casual visitor.
BERLIN, CHARLOTTENBURG, GERMANY - 2021 DEZEMBER 01, Beijing 2022 Qualification Tournament, Third Game, Slovakia vs Germany, im Bild The Team of Germany before the Game
Photo: Joachim Sielski/DBS
Portugal, Lisboa. Visually handicapped residents of the Convento dos Cardais have a good time in the São Bento swimming pool. 05 March 2008. Photography by Ernst Schade
The most colorful and visually spectacular valley in Yellowstone, Wyoming is the Grand Canyon of the Yellowstone. Two large waterfalls occur along this stretch of the river - the Upper Falls and the Lower Falls.
The rocks of the canyon include rhyolite lava flows, rhyolitic volcanic tuffs, and some sedimentary deposits - all are geologically young and date to the Quaternary.
Yellows, pinks, reds, and oranges are common colors in the canyon (see elsewhere in this photostream). They indicate the presence of hydrothermally altered rocks. Hydrothermal metamorphism refers to the intense alteration by superheated groundwater. Yellowstone has over 100,000 hydrothermal features in the form of hot springs, geysers, fumaroles, and mudpots.
The vertical feature shown in the picture is a narrow landslide chute. Well-developed rockslide chutes are common along the very steep walls of the canyon.
Locality: view from Inspiration Point, northern rim of the Grand Canyon of the Yellowstone, northwestern Wyoming
Day 2. Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
...is 100% visually impaired. I had the pleasure of riding with and photographing him last February as part of an adaptive snowboard camp. The camp was sponsored by AAS (Adaptive Action Sports) and hosted by Windells.
This visually light necklace combines a hint of the exotic and a dash of the modern with a rich fabulousness.
Turquoise stone has always been beloved, here the color turquoise is paired with the stone's age old partners mother of pearl and sterling silver and some new partners, crystal and wood.
The lampwork is by infernoglass and the silver is from Egypt, the last I have of this texture.
Length, 17 1/2 inches (44.5cm), strung on professional quality beading cable and the easy to use, secure and lovely hook clasp is handcrafted sterling silver.
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
www.mattmuir.co.uk - Note: These are in no way official photos from the event and I do not claim to have any relationship with the organisers.
www.mattmuir.co.uk - Note: These are in no way official photos from the event and I do not claim to have any relationship with the organisers.
2011
paint and hand embroidery on interfacing
these were created for a show directed towards the visually impaired and are intended to be held, touched and manipulated. i wanted them to still be visually interesting, aesthetically pleasing, etc...but it was challenging to think how i could incorporate texture in a different way so as to "read" the pieces with one's hands.
i imagine that the visually impaired have a heightened sense of touch, so will, perhaps, notice the nuances in stitches and surfaces. plus the verso side is a whole new experience!
The Morris County Board of Chosen Freeholders congratulated the New Jersey Commission for the Blind and Visually Impaired on the occasion of the foundation’s 100th anniversary. During the freeholder board’s Oct. 27 meeting in Morristown, Freeholder Director Gene Feyl, left, presented a congratulatory resolution to New Jersey Human Services Director Jennifer Velez, right. The commission is one of the many divisions and offices within Velez’s department.
My work is in one of the chapters of the book "Thinking Visually for Illustrators", second edition, by Mark Wigan (Bloomsbury, London, 2014).
Day 2. Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Pop Art - a rolling daily diary comprising a manipulated digital art collage that visually documents a local, political or international event of popular culture based on fractured photographic images.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, this work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our subconsciousness.
This work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
This work considers elements of Pop Art through an artistic and conceptual exploration of specific people and events of the day. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.
Pop Art - a rolling daily diary comprising a manipulated digital art collage that visually documents a local, political or international event of popular culture based on fractured photographic images.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, this work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our subconsciousness.
This work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
This work considers elements of Pop Art through an artistic and conceptual exploration of specific people and events of the day. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Pop Art - a rolling daily diary comprising a manipulated digital art collage that visually documents a local, political or international event of popular culture based on fractured photographic images.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, this work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our subconsciousness.
This work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
This work considers elements of Pop Art through an artistic and conceptual exploration of specific people and events of the day. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.
Here is a series of images of the beautiful Traveler’s Palm, Ravenala madagascariensis. It shares many features with palms (Arecaceae) and especially with bananas (Musaceae), but it is neither. It is in the family Strelitziaceae, the birds of paradise plants. It is endemic to forests in Madagascar, but it is grown as an impressive large ornamental plant in tropical gardens around the world. These specimens were in gardens in Miami, Florida. Shown in this series of images are its very distinctive flower bracts and interwoven petioles (leaf stems).
This series of 15 images has 7 original photos and 8 art variations. Images 1a and 2a are photos of the flower bracts. The characteristic bird-of-paradise flower forms are in stages of emerging, maturing, and wilting. To heighten the drama of these two photos, images 1b and 2b use various filters and painterly transforms to heighten colors, contrasts, and textures. The next two images are photos of the leaf stems at the heart of the plant. The petioles are interwoven, with younger stems above being green, older stems below turning red and browns, and the oldest stems drying and turning grey. Image 3a is framed by two of its long large banana-like leaves, while image 4a zooms in on the interdigitations of the petioles. Images 3b and 4b are art variations in which posterizations and enhancements lead to more graphical or painterly qualities. Photo 5a is a different point of view of a flower bract, and 5b is an art variation to create painterly and graphical emphasis. Photo 6a is nearly the identical view as 5a but with slight contrast and saturation boosts for a bit more drama. Photo 7a is a view of another bract and leaves, and 7b is an art variation for graphical emphasis.
Images 6b and 7c appear to have frames, but everything in these images comes directly from the original photos. Each starts with the art variations derived from the original photos. The “frames” were created by using rectangular-polar transforms. In the first pass, each starting image is polar-to-rectangular transformed. This effect assumes that the image is circular and then calculates how to “unrotate” it into a rectangular shape. That has the effect of taking the center of an image, which in these cases is the red and yellow flowers, and spreading it out along half of the rectangular edges. The effect is visually interesting, but by itself this transform rarely creates a compelling image. Next though, the filter is used again but in the opposite direction, using the inverse rectangular-to-polar transform for the second pass on the image. This reassembles the original image in the center, but the “noise” at the margins, what had been derived from the original center, gets smeared a second time. This leaves an elliptical ring around the margin of residue from the center, looking like a floral or organic frame.
ravenala traveler’s palm _ bracts & petioles _ 7b art _ (© 2014 megart)
Companion files:
ravenala traveler’s palm _ bracts & petioles _ 1a orig _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 1b art _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 2a orig _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 2b art _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 3a orig _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 3b art _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 4a orig _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 4b art _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 5a orig _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 5b art _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 6a orig _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 6b art-polar _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 7a orig _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 7b art _ (© 2014 megart)
ravenala traveler’s palm _ bracts & petioles _ 7c art-polar _ (© 2014 megart)
A visually impaired couple, music graduate Chhoti and school teacher Rajendra Kr Sharma participating in the bengali wedding ritual of Subhodrishti. Knowing each other for the past one year, the two could never see their better halves but fell in love over phone as they spoke for hours everyday discussing music, education and most importantly their idea and perception of love. The two got married on March 15 and love is in full blossom, not at first but through their heartstrings.
Learning from Cathy Smyth, a Teacher for the Visually Impaired (TVI) at the Anchor Center, a preschool for children who are blind or visually impaired, in Denver, Colorado.
Day 2. Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Visually, the barge is about ten times the size of the tug. The little guy was hauling right along with this.
Mitchell Is. in the background.
Creative Visions: A Holiday Boutique is a special art exhibition featuring the work of local blind and visually impaired artists was held at Braille Institute in Los Angeles.
Visually impaired athlete Henry Wanyoike and his guide cross the finish line to complete the 21km race during the 2016 Safaricom Lewa Marathon
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Submitted by: agus suhendar
Country: Indonesia
Organisation: Cicendo Eye Hospital
Category: Amateur
Caption: Friendly Smile “Soleh & Niko”
Niko and Soleh are employees of Cicendo Eye Hospital, Indonesia. Since Childhood, Niko is low vision and Soleh totally blind.
They are best friends who never give up in working and facing life
#MakeVisionCount
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Photo uploaded from the #MakeVisionCount Photo Competition website (photocomp.iapb.org)
This competition is held for World Sight Day 2017.
Address: 47 Toa Payoh Rise, Singapore 298104
Operating Hours: 8:00am-6:00pm (Mondays-Saturdays)
Contact: 6251 4331
Singapore Association of the Visually Handicapped – SAVH is a non-profit VWO catering to the visually handicapped and blind.
www.mattmuir.co.uk - Note: These are in no way official photos from the event and I do not claim to have any relationship with the organisers.
Timur Mamedov, visually impaired people during the online forum on the role of computer and informational technologies in their life
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Visually impaired runner retired Army Spc. Michael Stephens finishes a race with his guide retired Army Sgt. 1st Class Adam Blow trailing during the 2017 Department of Defense Warrior Games at Lane Technical College Preparatory High School in Chicago July 2, 2017. The DoD Warrior Games are an annual event allowing wounded, ill and injured service members and veterans to compete in Paralympic-style sports. (DoD photo by EJ Hersom)
Architecturally, Stoke Dry is an unassuming church in an unassuming village. Visually, it’s nothing to write home about at all. It’s all a bit out of proportion: the tower is positively anorexic; the nave is too narrow for its height; the aisles are asymmetrical. It was surely designed by a committee.
It started life in the c12 aisleless and rectangular in plan. It probably occupied the same space as the present nave and chancel. Very little of it is left, although part of the Norman walling remains in the chancel. On the c14 chancel arch, however, two original Norman shafts remain and these really are wonderful, covered as they are in interwoven designs and carvings.
A south aisle was added in the early c13, but only the arcade remains. The other remnant of this phase of building is the rather bizarrely-placed Early English lancet window on the west end of the tower. The tower itself dates from later in the c13, replacing the usual Rutland bellcote so this lancet window was probably relocated here from the west wall itself.
The north aisle was added in around 1300, possibly replacing an earlier one. During the next 30 years a chapel was built on the south side of the chancel, although at this point there was no connection through to it from the chancel. The present chancel was also modelled at this time, probably using a lot of the Norman masonry. A Norman string course is still visible in the chancel although probably not in its original position.
The Church Guide suggests that the chantry chapel on the south side of the chancel is the oldest part of the church. This is supported by the marvellous wall paintings depicting St Christopher with Christ on his shoulders and, better still, poor St Edmund being perforated by Danish archers! These are executed in wonderful naive style: real folk art from all of 800 years ago. Also in the chapel is the monument to Sir Everard Digby (d. 1541).
The chancel has another Digby monument - this time to Sir Kenelme Digby who did in 1590. It is his grandson, another Sir Everard Digby, who provides this church with its best story. That Sir Everard was a prime mover in the Gunpowder Plot and was hanged for it in 1606. He got off lightly compared with the atrocities committed on some of his co-conspirators The North Porch and parvise room in this church were added during the Tudor period. Legend, now generally discredited, had it that the Plot itself was hatched in the parvise room. A good story, but how would anyone know, one way or the other?
Other Digby family effigies can be seen at Coleshill Church, in Warwickshire. This, as you will see if you look at its page, was the town where I went to school. Unsurprisingly, perhaps, one of the “houses” in the school was “Digby”. All the houses were named after great Midlands families. Mine was “Montfort” and like the Digbys the family had its reasons for notoriety. Simon de Montfort, of course, is famous as the “founder” of the English parliament, but his father was another matter. To find about him visit my page on St Mary Bourne in Hampshire and read Footnote 1.
The interest in this church is rounded off by yet more mediaeval paintings: c14 work in the chancel; the twelve tribes of Israel on the clerestory from the c16. In many ways Stoke Dry epitomises the way in which the unassuming English parish church can be packed with historical interest just waiting to enthrall the casual visitor.