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Tea Rose

From my set entitled “Roses” www.flickr.com/photos/21861018@N00/sets/72157607214064416/ In my collection entitled “The Garden” www.flickr.com/photos/21861018@N00/collections/7215760718…

From Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Rose

A rose is a perennial flowering shrub or vine of the genus Rosa, within the family Rosaceae, that contains over 100 species. The species form a group of erect shrubs, and climbing or trailing plants, with stems that are often armed with sharp thorns. Most are native to Asia, with smaller numbers of species native to Europe, North America, and northwest Africa. Natives, cultivars and hybrids are all widely grown for their beauty and fragrance. [1]

The leaves are alternate and pinnately compound, with sharply toothed oval-shaped leaflets. The plants fleshy edible fruit is called a rose hip. Rose plants range in size from tiny, miniature roses, to climbers that can reach 20 metres in height. Species from different parts of the world easily hybridize, which has given rise to the many types of garden roses.

The name originates from Latin rosa, borrowed through Oscan from colonial Greek in southern Italy: rhodon (Aeolic form: wrodon), from Aramaic wurrdā, from Assyrian wurtinnu, from Old Iranian *warda (cf. Armenian vard, Avestan warda, Sogdian ward, Parthian wâr).[2][3]

Attar of rose is the steam-extracted essential oil from rose flowers that has been used in perfumes for centuries. Rose water, made from the rose oil, is widely used in Asian and Middle Eastern cuisine. Rose hips are occasionally made into jam, jelly, and marmalade, or are brewed for tea, primarily for their high Vitamin C content. They are also pressed and filtered to make rose hip syrup. Rose hips are also used to produce Rose hip seed oil, which is used in skin products.

The leaves of most species are 5–15 centimetres long, pinnate, with (3–) 5–9 (–13) leaflets and basal stipules; the leaflets usually have a serrated margin, and often a few small prickles on the underside of the stem. The vast majority of roses are deciduous, but a few (particularly in Southeast Asia) are evergreen or nearly so.

The flowers of most species roses have five petals, with the exception of Rosa sericea, which usually has only four. Each petal is divided into two distinct lobes and is usually white or pink, though in a few species yellow or red. Beneath the petals are five sepals (or in the case of some Rosa sericea, four). These may be long enough to be visible when viewed from above and appear as green points alternating with the rounded petals. The ovary is inferior, developing below the petals and sepals.

The aggregate fruit of the rose is a berry-like structure called a rose hip. Rose species that produce open-faced flowers are attractive to pollinating bees and other insects, thus more apt to produce hips. Many of the domestic cultivars are so tightly petalled that they do not provide access for pollination. The hips of most species are red, but a few (e.g. Rosa pimpinellifolia) have dark purple to black hips. Each hip comprises an outer fleshy layer, the hypanthium, which contains 5–160 "seeds" (technically dry single-seeded fruits called achenes) embedded in a matrix of fine, but stiff, hairs. Rose hips of some species, especially the Dog Rose (Rosa canina) and Rugosa Rose (Rosa rugosa), are very rich in vitamin C, among the richest sources of any plant. The hips are eaten by fruit-eating birds such as thrushes and waxwings, which then disperse the seeds in their droppings. Some birds, particularly finches, also eat the seeds.

While the sharp objects along a rose stem are commonly called "thorns", they are actually prickles — outgrowths of the epidermis (the outer layer of tissue of the stem). True thorns, as produced by e.g. Citrus or Pyracantha, are modified stems, which always originate at a node and which have nodes and internodes along the length of the thorn itself. Rose prickles are typically sickle-shaped hooks, which aid the rose in hanging onto other vegetation when growing over it. Some species such as Rosa rugosa and R. pimpinellifolia have densely packed straight spines, probably an adaptation to reduce browsing by animals, but also possibly an adaptation to trap wind-blown sand and so reduce erosion and protect their roots (both of these species grow naturally on coastal sand dunes). Despite the presence of prickles, roses are frequently browsed by deer. A few species of roses only have vestigial prickles that have no points.

Roses are popular garden shrubs, as well as the most popular and commonly sold florists’ flowers. In addition to their great economic importance as a florists crop, roses are also of great value to the perfume industry.

Many thousands of rose hybrids and cultivars have been bred and selected for garden use; most are double-flowered with many or all of the stamens having mutated into additional petals. As long ago as 1840 a collection numbering over one thousand different cultivars, varieties and species was possible when a rosarium was planted by Loddiges nursery for Abney Park Cemetery, an early Victorian garden cemetery and arboretum in England. Twentieth-century rose breeders generally emphasized size and colour, producing large, attractive blooms with little or no scent. Many wild and "old-fashioned" roses, by contrast, have a strong sweet scent.

Roses thrive in temperate climates, though certain species and cultivars can flourish in sub-tropical and even tropical climates, especially when grafted onto appropriate rootstock.

Rose pruning, sometimes regarded as a horticultural art form, is largely dependent on the type of rose to be pruned, the reason for pruning, and the time of year it is at the time of the desired pruning.

Most Old Garden Roses of strict European heritage (albas, damasks, gallicas, etc.) are shrubs that bloom once yearly, in late spring or early summer, on two-year-old (or older) canes. As such, their pruning requirements are quite minimal, and are overall similar to any other analogous shrub, such as lilac or forsythia. Generally, only old, spindly canes should be pruned away, to make room for new canes. One-year-old canes should never be pruned because doing so will remove next year’s flower buds. The shrubs can also be pruned back lightly, immediately after the blooms fade, to reduce the overall height or width of the plant. In general, pruning requirements for OGRs are much less laborious and regimented than for Modern hybrids.

Modern hybrids, including the hybrid teas, floribundas, grandifloras, modern miniatures, and English roses, have a complex genetic background that almost always includes China roses (R. chinensis). China roses were evergrowing, everblooming roses from humid subtropical regions that bloomed constantly on any new vegetative growth produced during the growing season. Their modern hybrid descendants exhibit similar habits: Unlike Old Garden Roses, modern hybrids bloom continuously (until stopped by frost) on any new canes produced during the growing season. They therefore require pruning away of any spent flowering stem, in order to divert the plant’s energy into producing new growth and thence new flowers.

Additionally, Modern Hybrids planted in cold-winter climates will almost universally require a "hard" annual pruning (reducing all canes to 8"–12" in height) in early spring. Again, because of their complex China rose background, Modern Hybrids are typically not as cold-hardy as European OGRs, and low winter temperatures often desiccate or kill exposed canes. In spring, if left unpruned, these damanged canes will often die back all the way to the shrub’s root zone, resulting in a weakened, disfigured plant. The annual "hard" pruning of hybrid teas, floribundas, etc. should generally be done in early spring; most gardeners coincide this pruning with the blooming of forsythia shrubs. Canes should be cut about 1/2" above a vegetative bud (identifiable as a point on a cane where a leaf once grew).

For both Old Garden Roses and Modern Hybrids, any weak, damaged or diseased growth should be pruned away completely, regardless of the time of year. Any pruning of any rose should also be done so that the cut is made at a forty five degree angle above a vegetative bud. This helps the pruned stem callus over more quickly, and also mitigates moisture buildup over the cut, which can lead to disease problems.

For all general rose pruning (including cutting flowers for arrangements), sharp secateurs (hand-held, sickle-bladed pruners) should be used to cut any growth 1/2" or less in diameter. For canes of a thickness greater than 1/2", pole loppers or a small handsaw are generally more effective; secateurs may be damaged or broken in such instances.

Deadheading is the simple practice of manually removing any spent, faded, withered, or discoloured flowers from rose shrubs over the course of the blooming season. The purpose of deadheading is to encourage the plant to focus its energy and resources on forming new offshoots and blooms, rather than in fruit production. Deadheading may also be perfomed, if spent flowers are unsightly, for aethestic purposes. Roses are particularly responsive to deadheading.

Deadheading causes different effects on different varieties of roses. For continual blooming varieties, whether Old Garden roses or more modern hybrid varieties, deadheading allows the rose plant to continue forming new shoots, leaves, and blooms. For "once-blooming" varieties (that bloom only once each season), deadheading has the effect of causing the plant to form new green growth, even though new blooms will not form until the next blooming season.

For most rose gardeners, deadheading is used to refresh the growth of the rose plants to keep the rose plants strong, vibrant, and productive.

The rose has always been valued for its beauty and has a long history of symbolism. The ancient Greeks and Romans identified the rose with their goddesses of love referred to as Aphrodite and Venus. In Rome a wild rose would be placed on the door of a room where secret or confidential matters were discussed. The phrase sub rosa, or "under the rose", means to keep a secret — derived from this ancient Roman practice.

Early Christians identified the five petals of the rose with the five wounds of Christ. Despite this interpretation, their leaders were hesitant to adopt it because of its association with Roman excesses and pagan ritual. The red rose was eventually adopted as a symbol of the blood of the Christian martyrs. Roses also later came to be associated with the Virgin Mary.

Rose culture came into its own in Europe in the 1800s with the introduction of perpetual blooming roses from China. There are currently thousands of varieties of roses developed for bloom shape, size, fragrance and even for lack of prickles.

Roses are ancient symbols of love and beauty. The rose was sacred to a number of goddesses (including Isis and Aphrodite), and is often used as a symbol of the Virgin Mary. ‘Rose’ means pink or red in a variety of languages (such as Romance languages, Greek, and Polish).

The rose is the national flower of England and the United States[4], as well as being the symbol of England Rugby, and of the Rugby Football Union. It is also the provincial flower of Yorkshire and Lancashire in England (the white rose and red rose respectively) and of Alberta (the wild rose), and the state flower of four US states: Iowa and North Dakota (R. arkansana), Georgia (R. laevigata), and New York[5] (Rosa generally). Portland, Oregon counts "City of Roses" among its nicknames, and holds an annual Rose Festival.

Roses are occasionally the basis of design for rose windows, such windows comprising five or ten segments (the five petals and five sepals of a rose) or multiples thereof; however most Gothic rose windows are much more elaborate and were probably based originally on the wheel and other symbolism. A red rose (often held in a hand) is a symbol of socialism or social democracy; it is also used as a symbol by the British and Irish Labour Parties, as well as by the French, Spanish (Spanish Socialist Workers’ Party), Portuguese, Norwegian, Danish, Swedish, Finnish, Brazilian, Dutch (Partij van de Arbeid) and European socialist parties. This originated when the red rose was used as a badge by the marchers in the May 1968 street protests in Paris. White Rose was a World War II non violent resistance group in Germany. Roses are often portrayed by artists. The French artist Pierre-Joseph Redouté produced some of the most detailed paintings of roses.

Henri Fantin-Latour was also a prolific painter of still life, particularly flowers including roses. The Rose ‘Fantin-Latour’ was named after the artist.

Other impressionists including Claude Monet and Paul Cézanne have paintings of roses among their works. Rose perfumes are made from attar of roses or rose oil, which is a mixture of volatile essential oils obtained by steam distilling the crushed petals of roses. The technique originated in Persia (the word Rose itself is from Persian) then spread through Arabia and India, but nowadays about 70% to 80% of production is in the Rose Valley near Kazanluk in Bulgaria, with some production in Qamsar in Iran and Germany.[citation needed]

The Kaaba in Mecca is annually washed by the Iranian rose water from Qamsar. In Bulgaria, Iran and Germany, damask roses (Rosa damascena ‘Trigintipetala’) are used. In the French rose oil industry Rosa centifolia is used. The oil, pale yellow or yellow-grey in color, is sometimes called ‘Rose Absolute’ oil to distinguish it from diluted versions. The weight of oil extracted is about one three-thousandth to one six-thousandth of the weight of the flowers; for example, about two thousand flowers are required to produce one gram of oil.

The main constituents of attar of roses are the fragrant alcohols geraniol and l-citronellol; and rose camphor, an odourless paraffin. β-Damascenone is also a significant contributor to the scent.

Quotes What’s in a name? That which we call a rose/By any other name would smell as sweet. — William Shakespeare, Romeo and Juliet act II, sc. ii O, my love’s like a red, red rose/That’s newly sprung in June — Robert Burns, A Red, Red Rose Information appears to stew out of me naturally, like the precious ottar of roses out of the otter. Mark Twain, Roughing It Hearts starve as well as bodies; give us bread, but give us roses. — James Oppenheim, "Bread and Roses" Rose is a rose is a rose is a rose — Gertrude Stein, Sacred Emily (1913), a poem included in Geography and Plays.

Posted by bill barber on 2007-06-27 12:15:45

Tagged: , Garden , Streetsville , Ontario , Canada , Peel , Region , Southern , Mississauga , bill , barber , william , bbarber1 , flower , plants , ornamental , rose , roses , shrub , bush , Elements , perennial , flowering , vine , genus Rosa , Rosaceae , erect shrubs , climbing , trailing , thorns. , alternate , pinnately compound , sharply toothed oval-shaped leaflets , hip , hybrid , Attar of rose , steam-extracted essential oil , perfume , Rose water , jam , jelly , marmalade , tea , Vitamin C , rose hip syrup , Rose hip seed oil , Pinnate , deciduous , five , petals , pollinating , bees , insects , prickles , rose rust , black spot , powdery mildew , aphid , PhotoShop Elements

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baby language

Posted by andangkosasih on 2018-01-21 01:43:52

Tagged:

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See’nSay – Kids Around the World🌟🌟 See’nSay – Kids Around the World🌟…

See’nSay – Kids Around the World🌟🌟 See’nSay – Kids Around the World🌟🌟 electronic toy 6 modes of Play – Discover countries and facts about them; Learn foreign language phrases; count in different languages; hear music from around the world; play the “find” game to locate countries; Play “Do you know” to find countries based on facts. 24 months and up 16.1 x 12.1 x 5.5″ Works. Requires 3 AA batteries Has a couple of marks see photos 🌟**BUY WITH CONFIDENCE**🌟**SMOKE FREE / ANIMAL FREE HOME**🌟**FAST SHIPPER

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Fly Away

Quiggles is an angel! At least she swears she is!

Check it all out here: flawlessdevelopments.zohosites.com/blogs/post/Fly-Away/

Posted by Flawless Developments on 2018-05-18 20:24:11

Tagged: , Sweet , Thing , Second , Life , Video , Game , Blog , Blogger , Virtual , Reality , Quiggles , Easterwood , Flawless , Developments , LAQ , Maitreya , ROMP , Body , Language , Doe , SLC , Lovely , Cute , Blueberry , Photo , Photographer

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Sneezing in 10 languages…

Sneezing in 10 languages…and the only thing i can think of is why they chose a black character to portray a polish person sneezing??

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18-392

The falling blossoms Look at them, it is the storm That is chasing them

The sensory language of Haiku-poetry…a Japanese lyrical art-form from the 1600’s.

Haiku-poetry exhibits a rigid 5-7-5 structure and does not have to rhyme. It is very precise in it’s expression of nature and of feelings, always placed in the present tense, and contains very few words. The omission of a single element would result in the verse “falling apart”, losing it’s meaning.

There is no place for abstract imagery within the Haiku universe. Its language is short and precise and leaves the reader with no doubt as to its meaning.

Matsuo Basho (1644-1694) is often considered ”the father” of Haiku but it is not known exactly when the first haiku was written. The earliest examples of haiku-like verses are in the 1235 Hyakunin Isshu anthology, compiled by Fujiwara no Teika.

In this example of the pre-Haiku era, the first kana is of course at the top of the perpendicular, but the text is in just one line and not in the rigid 5-7-5 structure of Haiku. (No rules without exceptions).

The falling blossoms Look at them, it is the storm That is chasing them

(Translation by Henderson).

Enjoy my pictorial interpretation…..

See my Haiku album here: www.flickr.com/photos/38070237@N06/albums/72157691222764380

Posted by lechecce on 2018-11-23 08:31:30

Tagged: , 2018 , Nature , Haiku , Shockofthenew , net@art II , AwardTree , Art2018 , Trolled , Art&Digital

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Learn Arabic | Arabic alphabet table

it’s an Arabic Alphabet Table. Whenever I learn arabic, i’ll be happy i pinned this

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MESSAGIO GALORE TAKE XII

a duration of sound poetry & similaria edited, reärranged & constraducted by jwcurry & realized through the combined auditoria of jwcurry Alastair Larwill Georgia Mathewson Brian Pirie 7 PM 21 octo 12 at Common Ground Art Gallery 3277 Sandwich Street, Windsor ___________________________________________________________________________

part 1

1. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: photocopy from TORONTO LIFE (issue # & editor unknown, Toronto, 1968). & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quartet

2. WELTWEHE, August Stramm (Germany, 1914); source: KROKLOK #3 (ed.dom sylvester houédard, London, UK, Writers Forum, 1972). Stramm’s scope is nothing less than cosmic in this, his most extreme narrative composed almost solely of verbs, fuelled & shaped by the battlefields he wrote in & the ciphers he wired his poems home through. solo

3. SIX-FOUR, Alastair Larwill (Canada, 2o1o); source: unpublished manuscript. accumulative disintegrational polysyllabicism formulated as an audio illustration in a discussion of articulational deliberateness with its dedicatee, Rob Read. full quartet

4. Generations, bpNichol (Canada, 1988); source: bpNichol, gIFTS The Martyrology Book(s) 7 (&) (Toronto, Coach House Press, 199o). Nichol’s numerical interpolations distract & enact a simultaneous metanarrative between his given text & what’s given through his interferences with it. solo

5. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem for an assemblyline of voicings" spiralling outta the conch into yr cochnea. full quartet

6. Salmon River Soliloquy, David UU (Canada, 1973); source: David UU, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. solo

7. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK #1 (ed.dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war", an anagrammatic poem in 3 vowels & 4 consonants. duo: curry/Mathewson

8. " BREATH IS ", bill bissett (Canada, 1966?); source: bill bissett, fires in th tempul OR TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966). one of bissett’s concrete scattertexts, here divided into a demonstration of the logic inherent in his more radical field compositions. duo: curry/Larwill

9. Oiseautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?) respectively; source: Raoul Hausmann & Kurt Schwitters, PIN and the story of PIN (London, UK, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite of related material from various sources. duo: curry/Pirie

1o. THREE/FOUR: OF TIME, bpNichol (Canada, 1985); source: 5e echanges internationaux de poesie contemporaine, ed.Julien Blaine (Tarascon, France, L’A.G.R.I.P.P.A., 1988). the 3rd in Nichol’s "TIME" series "for the 4 Horsemen", this one targetting the structure of the waltz for vigorous interrogation. full quartet

11. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); source: monograph (2nd ed, Ottawa, 1cent, 2oo8). hocketed statements that build multiple syntactic paths as the fragments first cohere, then disintegrate. full quartet

12. GLiNE OR EXTRATERRESTRIAL OCCURRENCES, Vaughn Bodé (USA, 1972?); source: Vaughn Bodé, JUNKWAFFEL no.3 (Berkeley, The Print Mint, 1972). Bodé’s 5pp comic relieved of its graphic anchor, its text no less rich in its significtions despite the lack of signposts. solo

13. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology ’88, ed.Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing’s lineated neuroses trackings, subsequently unreknotted & strung out as a schizologue for 2. duo: Larwill/Mathewson

14. The Tibetan Memory Trick, traditional/arranged by Howard Kaylan, Ian Underwood & Mark Volman (USA, 1974); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records Limited, 1975). spontaneous insertion into KNOTS above. everyone in the band gets put through this one for articulational, breathing & body memory development. full quartet.

15. AGATHA! WAKE UP! I’M CURED!, Richard Beland (Canada, 1992?); source: unpublished manuscript. Beland’s language lines are as plastic as his visual lines, this short prose morphing from sense to sound to resense with every step. solo

16. MUSHY PEAS, Steve McCaffery & bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pp of drawn optophonetics as visual field for improvisation. duo: curry/Larwill

17. sounds’ favorite words, Paul Haines (Canada, 1986), as quoted in full in an extract from Haines’ Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto? H Pal Productions, 2oo7), with reference to Michel Contat’s reading on Haines’ DARN IT! (USA, American Clavé, 1994). hijacked as a footnote of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it – plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." solo

part 2

18. TOTEM ÉTRANGLÉ, Antonin Artaud (France, 1964?); source: KROKLOK #2 (ed.dom sylvester houédard, London, Writers Forum, 1971), with reference to Antonin Artaud/trans.Helen Weaver, Selected Writings (New York,Farrar Straus And Groux, 1976). "For years I have had an idea of the consumption, the internal consummation of language by the unearthing of all manner of torpid and filthy necessities." (Artaud in a letter to Henri Parisot, 22 sep 45). 18 of these sound cycles excised (by Artaud) from elsewhere in his writings (Here Lies; Insanity and Black Magic; The Return of Artaud, Le Momo; To Have Done with the Judgement of God; Van Gogh, The Man Suicided by Society) & formally linked as a suite. full quartet

19. ma meeshka mow skwoz, Mike Patton (USA, 1995); source: monograph (San Francisco, privately published, 1995), with reference to Mr.Bungle, disco volante (USA, Warner Brothers Records Incorporated, 1995), with music by Trey Spruance. Patton’s drawn optophonetic text yields "extended range" vocalics that’re all but buried in this complex piece of high-impact chamber music. a chance to hear the relentless trajectory of the text on its own. solo

2o. East Wind, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). a gridtext deployed through overlaid extended breathlines, vowels blowing consonants all over the place. full quartet

21. The Multiples, Steve McCaffery (Canada, 1981); source: abs TruCt heh GarBagt, editor unknown (an insert in CABINET #1, USA, Immaterial Incorporated, 2ooo), transcribed by Rob Read (Canada, 2o11?). a multiplicity of mispronuncimicated masticatiums of eaneming, the contrast between what you seam to be hearing & what are here seming to be. duo: curry/Mathewson

22. A Letterklankbeelden Poem, I.K.Bonset (Holland, 192o); source: Imagining Language An Anthology, edited by Steve McCaffery & Jed Rasula (2nd ed, Cambridge, USA, MIT Press, 2oo1). with line lengths (mainly) one letter long, Bonset – among other things, a type designer – was simultaneously & independently investigating notions of optophonetics similar to Raoul Hausmann’s with diacritic modifiers. terse. solo

23.SIZERZ, Steve McCaffery (Canada, 1976); source: THE CAPILANO REVIEW #31 (ed.Steven Smith & Richard Truhlar, North Vancouver, 1984). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. full quartet

24. roses that, d.a.levy (USA, 1966); source: UKANHAVYRFUCKINCITI BAK, ed.Robert J.Sigmund (Cleveland, Ghost Press, 1968). "for gene" (presumably Fowler), a cyclic concrete poem in linear form pumping ackackfire into the imperialism of semantic politics. solo

25. IT CAN’T HAPPEN HERE, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965), transcribed & arranged by jwcurry (2oo7). a somewhat remented barberchopping routine that only seems to leave metre & tonality behind, part 2 of Help, I’m A Rock, featuring Georgia Mathewson as Suzy Creamcheese ("You blew your mind on too much koolaid"). full quartet

26. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd ed. Ottawa, Curvd H&z, 2oo6). "two versions/common source" of elemental theme & variations presented as comparative simultaneities in a "quartet for 2 voices" [curry]. duo: curry/Larwill

27. A Little Valentine, Steve McCaffery (Canada, 1977); source: Steve McCaffery, research on the mouth (Toronto, Underwhich Editions, 1978?), transcribed & arranged by jwcurry & Sheena Mordasiewicz (2o12). a trystcycle built for 2 interpenetrates itself to become a relentless rush toward simultaneous climax. duo: curry/Larwill

28. Pieces Of Stop, bpNichol (Canada, 1978); source: as 2o above. "for Greta Monach", an extremely literal approach to the score that casts the reversed expectations of its sound envelopes into stark relief. full quartet

29. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, ed.eugen gomringer (reprint? Stuttgart, Philipp Reclam, 198o). an "utter zoo" octupletted & arranged as simultaneous nouns’n’sounds. duo: curry/Larwill

3o. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound, Beyond The Range (Toronto, Underwhich Editions, 198o), transcribed by jwcurry from a trio (Michael Dean, Steven Smith, Richard Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. full quartet ___________________________________________________________________________

with Big Thanks to Gustave Morin for causing it, Jenny Kimmerly for the programmes, Jarrod Ferris for filming, Kung To for rehearsal space, Chris (dunno yr last name) & Sergio Forest for the fantastic homemade onion rings &, ‘fcourse, the band for the pleasure & hard work

front cover: bpNichol, Pieces Of Stop (28), rescored by jwcurry (bottom: lettering by curry) rear cover: dom sylvester houédard, anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS (7) ___________________________________________________________________________

see also:

announcements: www.flickr.com/photos/48593922@N04/8078983925/ www.citywindsor.ca/residents/Culture/Mackenzie-Hall/Pages… pagehalffull.com/pesbo/2012/10/12/sunday-oct-21-messagio-… issuu.com/uwindsorlance/docs/thelance-85-16 (down on p.6) www.flickr.com/photos/48593922@N04/8152980663/

photographs: www.flickr.com/photos/pearlpirie/8119045118/ www.flickr.com/photos/pearlpirie/8119033749/ www.flickr.com/photos/pearlpirie/8119034091/ www.flickr.com/photos/pearlpirie/8119046498/ www.flickr.com/photos/pearlpirie/8119034923/ 2.bp.blogspot.com/-utKD_y6vO8c/UIgX0FXlbYI/AAAAAAAAAL8/kA…

Posted by jwc 3o2 on 2012-10-31 04:32:03

Tagged: , quadrabet

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These Things Aren’t As Gross As They Look

Tumblr, humour, funny, lol, haha, chat post, text post

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Smile & the World Smiles With You

A warm smile is the universal language of kindness. – William Arthur Ward

A smile is the light in your window that tells others that there is a caring, sharing person inside. Denis Waitley

Too often we underestimate the power of a touch, a smile, a kind word, a listening ear, an honest compliment, or the smallest act of caring, all of which have the potential to turn a life around. – Leo Buscaglia

Let my soul smile through my heart and my heart smile through my eyes, that I may scatter rich smiles in sad hearts. – Paramahansa Yogananda

A smile is a curve that sets everything straight. Phyllis Dille

Don’t cry because it’s over, smile because it happened. – Dr. Seuss

I am featured on aamora.com if anyone is interested: www.aamora.com/2015/08/31/emotions-by-sonia-ruth-adam-mur…

Thank you for your kind visit. Have a wonderful and beautiful day! xo❤️

Posted by soniaadammurray – On & Off on 2015-09-01 15:32:52

Tagged: , digital photography , manipulated , experimental , smile , emotions , quotes , William Arthur Ward , Denis Waitley , Leo Buscaglia , Paramahansa Yogananda , Phyllis Dille , Dr. Seuss , cry , crying , experience , happiness , joy , life , optimism , sadness , smiling , sad , eyes , soul , Kindness , Language , happened , caring , light , others , sharing , straight , sets , curves , heart , scatter , abstracts , senses , yellow , colours , self portrait

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April NO PREP Packet (Kindergarten)

Map Skills! Perfect for listening to and following directions!

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The one on the left is learning SMS language. I am ROTBL (Rolling on the branch laughing)

5 Scaly breasted Munias together @Meadowbrook, LA Arboretum this Saturday

Posted by mnag62 on 2019-08-26 05:26:20

Tagged: , scaly-breatsed , munia , Birds , birding , humor , funny , LA Arboretum , laaroboretum , Los Angeles , arcadia , audobon , Canon , Canon 5d mkIV , Canon 100-400mm mk II , canon 1.4xmkiii

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@narcissistrecovery on Instagram: “It’s not a just get over it situation. Yo…

@narcissistrecovery on Instagram: “It’s not a just get over it situation. You have to take the time to learn, understand and heal from what’s happened. So if you have someone…” #abuse #trauma #ptsd #cptsd

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Sogno la libertà degli uccelli, il loro librarsi nel cielo aperto, la prospettiva privilegiata da cui guardano ogni cosa, il loro distacco dalle meschinità del mondo

Alba sul Polluce 4.070 m e Castore 4.226 m

Monte Rosa Summits

Grazie – Merci – Thanks, Explore bighugelabs.com/scout.php

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Whytake

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Posted by In punta di piedi…di Troise Carmine – Washi on 2010-08-05 21:15:40

Tagged: , Italia , Italie , Italy , Natura , Nature , Alpi , Alps , Alpen , Montagna , Montagne , Montagnes , Mountains , Summits , Facebook , Wild , Wildlife , Washi , Explore , GMT , mywinners , FlickrDiamond , Flickr

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Joyful and Systematic Ways to Build Kindergarten Narrative Writing

Download the FREE Elephant and Piggie drawing pages here: nellieedge.com/… so children can learn to write and illustrate their own Elephant and Piggie books! These books are well loved-mentor texts. Follow link and scroll down on Narrative Writing to see the tote, “How to Write About Elephant and Piggie!” and children’s samples.

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PINARA Ancient Lycian City. Fethiye/Turkey. ROCK TOMBS

ROCK TOMBS: Crag with rock-cut tombs towering over Pinara situated on a "round" mass of rock, believed to have given the ancient city its name.

I continue to the series of ancient cities.

A minor city with one of the best preserved temples in Anatolia.

”Historical monuments are the common heritage of mankind. It must be protected”

Pinara,

This article is about the ancient Lycian city. For other uses, see Pinara (disambiguation). Pinara τὰ Πίναρα (Greek)

The theatre of Pinara.

Location,Minare, Muğla Province, Turkey Region Lycia Coordinates 36°29′19″N 29°15′07″E Coordinates: 36°29′19″N 29°15′07″E Type Settlement Pinara (Lycian: Pilleñni, presumably from the adjective "round"; Greek: τὰ Πίναρα, formerly Artymnesus or Artymnesos according to one account) was a large ancient city of Lycia at the foot of Mount Cragus (now Mount Babadağ), and not far from the western bank of the River Xanthos, homonymous with the ancient city of Xanthos (now Eşen Stream). The remains of several ancient temples can be seen in Pinara, as well as rock tombs including one "royal tomb", an upper and a lower acropolis, a theatre, an odeon, an agora and a church. The name Pinara has somewhat been assimilated to the name of the present-day village of Minare, half an hour below the ruins and depending Fethiye district of Muğla Province, Turkey

The city, though not often mentioned by ancient writers, appears from its vast and beautiful ruins to have been, as Strabo asserts, one of Lycia’s largest, its chief port city until the harbor silted up to form the reed-filled wetlands of today.[2] Yet another rare mention of the city in ancient sources is in connection with the help it provided, along with several other Lycian cities, to Pixodarus of Caria. Pinara was a member of the Lycian League, in which it held three votes. The city surrendered to Alexander the Great in 334 BCE. After Alexander’s death, the city fell to the kingdom of Pergamum. Pinara became a Roman city when Pergamum was willed by its last king Attalus III to the Roman Republic in 133 BCE. The city enjoyed prosperity during Roman rule, but was badly damaged by earthquakes in 141 and 240 CE. In the first occurrence, the city is recorded to have received a contribution from Opramoas for the repair of public buildings.[citation needed] Pinara was Christianized early. Five bishops are known: Eustathius, who signed the formula of Acacius of Cæsarea at the Council of Seleucia in 359; Heliodorus, who signed the letter from the bishops of Lycia to the emperor Leo I the Thracian (458); Zenas, present at the Trullan Council (692); Theodore, at the Second Council of Nicaea (787); Athanasius, at the synod that reinstated Patriarch Photius I of Constantinople (the Photian Council) in 879. Pinara was the birthplace of Nicolas of Myra. Under repeated pressure from invading forces, the city lost its inhabitants in the ninth century.

There was a cult of Pandarus, the Lycian hero of the Trojan War, in Pinara, which led some sources to conclude that he was a native of the city.[1] According to the Lycian history of Menecrates[disambiguation needed], quoted by Stephanus of Byzantium[2][3] the city was a colony of Xanthos, its original name would be Artymnesos. This name would have preceded the Lycian language name Pinara, derived from the form "Pilleñni" or "Pinale" meaning a "round hill" or simply "round",[2] based on a hypothesis of interchange of liquid consonants.[citation needed] The town is indeed situated on such a great round mass of rock and a more or less circular crag towers over the ruins. Another source, Panyassis, also mentions an eponymous founder by name Pinarus, son of Tremiles or Termilus, and this account is viewed by some sources as unsubstantial as the rest relating to the precedence of names.

Scientific discovery Pinara’s ruins were identified by Sir Charles Fellows.[2] From amidst the ancient city, he says,[5] rises a singular round rocky cliff (the pinara of the Lycians), literally speckled all over with tombs. Beneath this cliff lie the ruins of the extensive and splendid city. The theater is in a very perfect state; all the seats are remaining, with the slanting sides towards the proscenium, as well as several of its doorways. The walls and several of the buildings are of the Cyclopean masonry, with massive gateways formed of three immense stones. The tombs are innumerable, and the inscriptions are in the Lycian characters, but Greek also occurs often on the same tombs. Some of these rock-tombs are adorned with fine and rich sculptures. The Christian bishopric of Pinara, no longer a residential see, is included in the Catholic Church’ list of titular sees

en.wikipedia.org/wiki/Pinara#History

Posted by Feridun F. Alkaya on 2017-06-05 07:48:23

Tagged: , pinara , historical , Historic , History , Fethiye , muğla , ”Minareköyü” , Turkey , Türkiye , Archaeological , Archeology , Art history , ancient , Lycian , Pilleñni , Greek , Roman , xanthos , ”Charlesfellows” , Byzantine , ”ByzantineEmpires” , ”NGC” , ”Turkeyancientcity” , pınara , theatre , theater , Amphitheater , ”Rocktombs” , tombs

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Elon Gold: Chosen and Taken – Languages

Elon Gold – Languages (Stand up Comedy)

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