Wednesday, March 07, 2007
DNA Tracking
Read on how seal penises, elephant dung and smashed ivory are helping geneticists pinpoint the poaching of protected species @ http://www.economist.com/science/displaystory.cfm?story_id=8770177
Decoding Color
(via Lapidary Journal) Terri Haag writes:
The Zulu love letter (iNcwadi Kuthanda) are messages woven in beads by Zulu girls to send to their beloveds. Some of the messages are rather tart, so perhaps the term love letters is a bit euphemistic. Pointed reminders might be more accurate. One suspiciously tourist-oriented source lists the following meaning for the colors used:
White: This is the color of purity, vision, and love itself.
Black: I have turned pitch black as the rafters of the hut as I hear you have another lover.
Blue: If I were a dove I would fly to your home and pick up food at your door.
Pink: You should work harder to get lobola (bride price money paid by a male suitor to his would-be father in law) and not gamble and waste your money.
Green: I have become thin like the sweet cane in a damp field and green as first shoots of trees because of my love for you.
Red: My heart bleeds and is full of love.
Another source is certainly more comprehensive:
There are seven colors used and every color except white has to meanings, one positive, one negative. White (iThambo/bone) is always positive and always represents purity and spiritual love. When a color is used beside white it carries the positive meaning. For instance, a white hand beside a blue band denotes fidelity and often means the person is engaged.
Black: iStimane/shadow
Positive = marriage, rebirth
Negative = death, sadness
Blue: iJubal/dove
Positive = faithfulness
Negative = hostility, dislike
Yellow: iNcombo/young corn
Positive = wealth, garden
Negative = badness, thirst, withering
Green: uKuhlaza/new grass
Positive = contentment
Negative = discord, illness
Pink:
Positive = promise, high status
Negative = poverty, laziness
Red:
Positive = love, strong emotion
Negative = anger, heartache
The Zulu love letter (iNcwadi Kuthanda) are messages woven in beads by Zulu girls to send to their beloveds. Some of the messages are rather tart, so perhaps the term love letters is a bit euphemistic. Pointed reminders might be more accurate. One suspiciously tourist-oriented source lists the following meaning for the colors used:
White: This is the color of purity, vision, and love itself.
Black: I have turned pitch black as the rafters of the hut as I hear you have another lover.
Blue: If I were a dove I would fly to your home and pick up food at your door.
Pink: You should work harder to get lobola (bride price money paid by a male suitor to his would-be father in law) and not gamble and waste your money.
Green: I have become thin like the sweet cane in a damp field and green as first shoots of trees because of my love for you.
Red: My heart bleeds and is full of love.
Another source is certainly more comprehensive:
There are seven colors used and every color except white has to meanings, one positive, one negative. White (iThambo/bone) is always positive and always represents purity and spiritual love. When a color is used beside white it carries the positive meaning. For instance, a white hand beside a blue band denotes fidelity and often means the person is engaged.
Black: iStimane/shadow
Positive = marriage, rebirth
Negative = death, sadness
Blue: iJubal/dove
Positive = faithfulness
Negative = hostility, dislike
Yellow: iNcombo/young corn
Positive = wealth, garden
Negative = badness, thirst, withering
Green: uKuhlaza/new grass
Positive = contentment
Negative = discord, illness
Pink:
Positive = promise, high status
Negative = poverty, laziness
Red:
Positive = love, strong emotion
Negative = anger, heartache
The Manchurian Candidate
Memorable quote (s) from the movie:
Bennett Marco (Frank Sinatra): Poor Raymond. Poor friendless, friendless Raymond. He was wearing his medal when he died. You should read some of the citations sometime. Just read them. Taken, eight prisoners, killing four enemy in the process while one leg and one arm was shattered and he could only crawl because the other leg had been blown off - Edwards. Wounded five times, dragged himself across the direct fire of three enemy machine guns to pull two of his wounded men to safety amid sixty-nine dead and two hundred and three casualties - Holderman. Made to commit acts too unspeakable to be cited here by an enemy who had captured his mind and his soul. He freed himself at last and in the end, heroically and unhesitatingly gave his life to save his country. Raymond Shaw... Hell... Hell.
Bennett Marco (Frank Sinatra): Poor Raymond. Poor friendless, friendless Raymond. He was wearing his medal when he died. You should read some of the citations sometime. Just read them. Taken, eight prisoners, killing four enemy in the process while one leg and one arm was shattered and he could only crawl because the other leg had been blown off - Edwards. Wounded five times, dragged himself across the direct fire of three enemy machine guns to pull two of his wounded men to safety amid sixty-nine dead and two hundred and three casualties - Holderman. Made to commit acts too unspeakable to be cited here by an enemy who had captured his mind and his soul. He freed himself at last and in the end, heroically and unhesitatingly gave his life to save his country. Raymond Shaw... Hell... Hell.
Ivory Carving
By Carson I A Ritchie
By Arthur Baker Ltd
1969 SBN 213 17955 5
Arthur Baker Ltd writes:
As this is the first handbook on ivory carving ever to be written, the author (who is one Britain’s foremost ivory sculptors) has tried to make it as complete as possible. Step by step instructions, fully illustrated by line drawings, take the beginner from the initial stage of buying the ivory through the sculpting and polishing processes. In the final chapter on Marketing and Exhibiting the author passes on his experience as a professional ivory carver and exhibitor for those who want to turn ivory carving from an enthusiasm into a livelihood. This book lays bare for the first time the secrets of ivory sculpture which have been transmitted from master to pupil over the centuries, but never published.
Although primarily intended for the beginner who has had no formal art instruction, this book will also interest the professional sculptor who wishes to move over from some other medium into ivory, particularly the special sections on cutting the cost of buying the tusks, studio arrangement and planning of work so as to eliminate unnecessary drudgery and leave as much time as possible available for the vital matters of inspiration an design.
In his advice to beginners in carving the author has tried to balance between the enthusiast who cannot afford any more equipment than what will go on a kitchen table, and the professional with a well equipped studio. A well chosen photographic section shows what ivories look like at different stages of the carving process and illustrates the work of contemporary sculptors in this field.
Ivory carving is not of interest just to the carver, but to the collector, the archaeologist, and the art historian as well. Special sections have been written to show how to distinguish between the provenance of one kind of ivory and another and how to track the use of different kinds of tools from their traces. So archaeologists can now begin to ask themselves the question ‘Is this statue Indian or African ivory, and how was it carved?’ with some hope of an answer.
About the author
Dr Richie is the first research worker to test every known kind of ivory for hardness and fluorescence. He began ivory carving as a complete amateur, and now exhibits with the Royal Society of Miniature Artists, Sculptors and Gravers.
By Arthur Baker Ltd
1969 SBN 213 17955 5
Arthur Baker Ltd writes:
As this is the first handbook on ivory carving ever to be written, the author (who is one Britain’s foremost ivory sculptors) has tried to make it as complete as possible. Step by step instructions, fully illustrated by line drawings, take the beginner from the initial stage of buying the ivory through the sculpting and polishing processes. In the final chapter on Marketing and Exhibiting the author passes on his experience as a professional ivory carver and exhibitor for those who want to turn ivory carving from an enthusiasm into a livelihood. This book lays bare for the first time the secrets of ivory sculpture which have been transmitted from master to pupil over the centuries, but never published.
Although primarily intended for the beginner who has had no formal art instruction, this book will also interest the professional sculptor who wishes to move over from some other medium into ivory, particularly the special sections on cutting the cost of buying the tusks, studio arrangement and planning of work so as to eliminate unnecessary drudgery and leave as much time as possible available for the vital matters of inspiration an design.
In his advice to beginners in carving the author has tried to balance between the enthusiast who cannot afford any more equipment than what will go on a kitchen table, and the professional with a well equipped studio. A well chosen photographic section shows what ivories look like at different stages of the carving process and illustrates the work of contemporary sculptors in this field.
Ivory carving is not of interest just to the carver, but to the collector, the archaeologist, and the art historian as well. Special sections have been written to show how to distinguish between the provenance of one kind of ivory and another and how to track the use of different kinds of tools from their traces. So archaeologists can now begin to ask themselves the question ‘Is this statue Indian or African ivory, and how was it carved?’ with some hope of an answer.
About the author
Dr Richie is the first research worker to test every known kind of ivory for hardness and fluorescence. He began ivory carving as a complete amateur, and now exhibits with the Royal Society of Miniature Artists, Sculptors and Gravers.
Tuesday, March 06, 2007
The Rise Of Technology Addiction
Read on to learn more about the exponential growth of portable technology and the after effects: the link between the decision making process, work and private life....
@ http://news.bbc.co.uk/2/hi/programmes/click_online/6411495.stm
@ http://news.bbc.co.uk/2/hi/programmes/click_online/6411495.stm
Digging For Ethical Gems
The distribution of gemstones is very complex. The routes followed by gemstones to the marketplace are also very torturous. There are more individuals involved , each with their own interests. In gem producing countries, smuggling, child labor, illicit trading, and environmental destruction are widespread.
Read on to learn more about the concerns associated with gemstones @
http://www.coopamerica.org/pubs/realmoney/articles/ethicalgems.cfm
Read on to learn more about the concerns associated with gemstones @
http://www.coopamerica.org/pubs/realmoney/articles/ethicalgems.cfm
Psycho
Memorable quote (s) from the movie:
California Charlie, used car salesman (John Anderson): I'm in no mood for trouble.
Marion Crane (Janet Leigh): What?
California Charlie, used car salesman (John Anderson): There's an old saying, "First customer of the day is always the trouble!" But like I say, I'm in no mood for it so I'm gonna treat you so fair and square that you won't have one human reason to give me...
Marion Crane (Janet Leigh): Can I trade my car in and take another?
California Charlie, used car salesman (John Anderson): Do anything you've a mind to. Bein' a woman, you will. That yours?
Marion Crane (Janet Leigh): Yes, it's just that - there's nothing wrong with it. I just...
California Charlie, used car salesman (John Anderson): Sick of the sight of it! Well, why don't you have a look around here and see if there's somethin' that strikes your eyes and meanwhile I'll have my mechanic give yours the once over. You want some coffee? I was just about...
Marion Crane (Janet Leigh): No, thank you. I'm in a hurry. I just want to make a change, and...
California Charlie, used car salesman (John Anderson): One thing people never oughtta be when they're buyin' used cars and that's in a hurry. But like I said, it's too nice a day to argue. I'll uh - shoot your car in the garage here.
California Charlie, used car salesman (John Anderson): I'm in no mood for trouble.
Marion Crane (Janet Leigh): What?
California Charlie, used car salesman (John Anderson): There's an old saying, "First customer of the day is always the trouble!" But like I say, I'm in no mood for it so I'm gonna treat you so fair and square that you won't have one human reason to give me...
Marion Crane (Janet Leigh): Can I trade my car in and take another?
California Charlie, used car salesman (John Anderson): Do anything you've a mind to. Bein' a woman, you will. That yours?
Marion Crane (Janet Leigh): Yes, it's just that - there's nothing wrong with it. I just...
California Charlie, used car salesman (John Anderson): Sick of the sight of it! Well, why don't you have a look around here and see if there's somethin' that strikes your eyes and meanwhile I'll have my mechanic give yours the once over. You want some coffee? I was just about...
Marion Crane (Janet Leigh): No, thank you. I'm in a hurry. I just want to make a change, and...
California Charlie, used car salesman (John Anderson): One thing people never oughtta be when they're buyin' used cars and that's in a hurry. But like I said, it's too nice a day to argue. I'll uh - shoot your car in the garage here.
Victorian Jewellery Design
By Charlotte Gere
William Kimber and Co Ltd
1972 SBN 7183 0232 X
William Kimber and Co writes:
Jewellery design has rarely been so inventive as during the second half of the nineteenth century. Changes in fashion were closely followed, changes which increased in frequency with improved communications and regular international exhibitions, so that fashions which stemmed from Paris or Rome would soon be adopted in England—and America. While mechanical manufacture meant that the growing demand for fashionable jewellery could be met, contemporaries were alert to the dangers of mass production. The Great Exhibition of 1851 was itself directed to raise the standard of design in manufacture, and stern criticisms were leveled against the jewellery produced throughout the period, yet there survives today a wide selection of well designed nineteenth century jewellery of fine workmanship for the collector and the bargain-hunter to browse over.
Identifying the varied styles and fashions which influenced the craftsmen and manufacturers, such as the enthusiasm for neogothic, archaeological motifs, adaptations of Japanese and Indian art, and botanical novelties, Victorian Jewellery Design is an absorbing guide to the probable origin of many of these nineteenth century pieces—providing the kind of knowledge that enabled the author to identify a gold bracelet in an Oxfam shop as being made by Carlo Doria for Robert Phillips. It traces the influences underlying the changes of fashion, and shows how it was frequently artists—sometimes producing their own hand-made pieces—such as William Burges, Charles Rickett, the Pre-Raphaelites and the leaders of Art Nouveau, who introduced fresh inspiration, rather than the trade craftsmen.
William Kimber and Co Ltd
1972 SBN 7183 0232 X
William Kimber and Co writes:
Jewellery design has rarely been so inventive as during the second half of the nineteenth century. Changes in fashion were closely followed, changes which increased in frequency with improved communications and regular international exhibitions, so that fashions which stemmed from Paris or Rome would soon be adopted in England—and America. While mechanical manufacture meant that the growing demand for fashionable jewellery could be met, contemporaries were alert to the dangers of mass production. The Great Exhibition of 1851 was itself directed to raise the standard of design in manufacture, and stern criticisms were leveled against the jewellery produced throughout the period, yet there survives today a wide selection of well designed nineteenth century jewellery of fine workmanship for the collector and the bargain-hunter to browse over.
Identifying the varied styles and fashions which influenced the craftsmen and manufacturers, such as the enthusiasm for neogothic, archaeological motifs, adaptations of Japanese and Indian art, and botanical novelties, Victorian Jewellery Design is an absorbing guide to the probable origin of many of these nineteenth century pieces—providing the kind of knowledge that enabled the author to identify a gold bracelet in an Oxfam shop as being made by Carlo Doria for Robert Phillips. It traces the influences underlying the changes of fashion, and shows how it was frequently artists—sometimes producing their own hand-made pieces—such as William Burges, Charles Rickett, the Pre-Raphaelites and the leaders of Art Nouveau, who introduced fresh inspiration, rather than the trade craftsmen.
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