Saturday, August 29, 2015

Cool Video Of Animals images

Check out these video of animals images:


20070730 - raccoon 2 - IMG_2858 - in the car - grabbing cage
video of animals
Image by Rev. Xanatos Satanicos Bombasticos (ClintJCL)
He's somewhat pathetic-looking here, grabbing the bars like a jailed convict. RESISTANCE IS FUTILE PUNY CREATURE.

grabbing.
raccoon.

car, Alexandria, Virginia.

July 30, 2007.


... Read my blog at ClintJCL.wordpress.com



To see video of the raccoon snarling and attacking Clint's camera: www.youtube.com/watch?v=aD5ut_tZoBc

To see video of the raccoon being released: www.youtube.com/watch?v=YXIp-UHdc5s


20080622 - Oranjello and the turtle - 159-5978-diptych-159-5979 - Oranjello crouched watching the turtle
video of animals
Image by Rev. Xanatos Satanicos Bombasticos (ClintJCL)
Oranjello attempts to use his laser vision to heat Timmy The Turtle into a turtle soup, but the turtle manages to get away by going around the corner.

BACKSTORY: Carolyn found a turtle -- right where we turn around in the chute to get out of our driveway. He surely would have been crushed had she not noticed, as he was not walking. He had dug a little hole and was kind of hanging out in it. So we took him inside for a photo shoot with the cat, named him Timmy The Turtle (after a NoFX song), and kept him in our bathtub for 3 days. Why? I don't know. Just for the novelty of it. Later, we released him by the creek in our back yard.

Another interesting thingabout this turtle is that he barely fit in his shell. When his head went in, his tail would stick out; and vice-versa.

crouching, walking, watching.
Oranjello the cat, Timmy the turtle.
diptych.

upstairs, Clint and Carolyn's house, Alexandria, Virginia.

June 22, 2008.


... Read my blog at ClintJCL.wordpress.com
... Read Carolyn's blog at CarolynCASL.wordpress.com



...View video of Oranjello checking the turtle out at: www.youtube.com/watch?v=Hdu-L6S_MbQ


20100612 - Food Party in Baltimore - Floristree - elevator - left, closer - IMG_0820
video of animals
Image by Rev. Xanatos Satanicos Bombasticos (ClintJCL)
Part of the adventure was finding the place, which didn't even have a sign outside at street level. And has a locked door. Eventually, we finally got in. Then what? Nobody was around, and it was a weird hallway. Finally, someone walked by and told us what floor to go to. Even when the elevator doors opened, I still wasn't sure I was on the right track. Mainly, because I didn't even realize it was an elevator, even after the doors opened. It was just so unreal that I didn't know what I was looking at for a good second or so. (I've literally gotten the shaft at an elevator before, so I never assume there to be one when the doors open.)

A close-up, but the flash messed it up. I tried to fix it with the healing brush on the animals' forehead, but it was way too much work to try to do it perfectly.

Dave Halstead was here graffiti, animal face, animal head, digipack graffiti, word graffiti.

elevator, Floristree, Baltimore, Maryland.

June 12, 2010.


... Read my blog at ClintJCL.wordpress.com



BACKSTORY: TV Carnage video party featuring Thu Tran, creator and star of IFC's AdultSwim-like show Food Party, as well as Matt Fitzpatrick, who does the music for Food Party, and Derrick Beckles, who directed the insane AdultSwim pilot Totally For Teens. They played Food Party shorts with Matt Fitzpatrick playing the music live, as well as Derrick Beckles Totally For Teens and Workout Video projects. And we got Thu Tran to autograph our clipboard!

Wednesday, August 26, 2015

Cool Marine Animals images

A few nice marine animals images I found:


Marine Iguanas
marine animals
Image by Crazy Creatures
The Marine Iguana is endemic to the Galapagos and is the only lizard able to swim and forage at sea. They are vulnerable to heat loss at sea, so will stay in shallow waters, although do occasionally dive to depths of 15 meters.

Find out about many different animals at www.crazycreatures.org


Marine Iguana Amblyrhynchus cristatus
marine animals
Image by The Tardigrade
Galapagos.

Monday, August 24, 2015

Nice Names For Animals photos

Some cool names for animals images:



Wendy, 19
names for animals
Image by pni
This is one image of six from a series about identities online and in real life, exhibited in 2003 under the name Personatus together with Minna Grönstrand at two locations in Helsinki companied by a website (not available anymore).

The animal figures used in this series are something I originally designed when I was a children's camp counsellor, in the mid 1990's, for the kids to print on t-shirts. The figures became popular also among grown-ups and I just republished them on Redbubble: ANIMAL t-shirts.

Saturday, August 22, 2015

Central Park

Check out these names for animals images:


Central Park
names for animals
Image by peterjr1961
Still Hunt

This animal sculpture, referred to alternately as a panther or a mountain lion (both names for the same species, Felis concolor), is by Edward Kemeys (1843–1907). Situated on a rock in a thicket beside Central Park’s East Drive at 76th Street, the bronze feline crouches on a natural rock outcropping in a masterful example of site-specific art.

Kemeys was born in Savannah, Georgia in 1843. His interest in animals is said to date from a summer when, at age 13, he lived on a farm in Illinois that was surrounded by frontier wilderness. After serving as an artillery officer in the Civil War, and an unsuccessful attempt at farming, he was employed in the late 1860s for two dollars a day as an axe-man on the engineering corps that prepared the grounds for the construction of Central Park.

Kemeys later recalled that while working in Central Park, he took pleasure in observing wild animals, and was inspired in 1869 when he saw an old German sculptor fashioning the head of a wolf at the Central Park Menagerie. “Quick as lighting came the thought…I can do that!” Kemeys reminisced. He soon obtained modeling material, and began crafting a sculpture of a wolf himself. Three years later, Kemeys received a commission for his sculpture, Two Hudson Bay Wolves Quarreling Over the Carcass of a Deer, which stands in the Philadelphia Zoological Gardens in Fairmont Park, Philadelphia.

Buoyed by his early success, Kemeys traveled west in 1872-73, where he hunted, lived with Native Americans, and studied wild animals in their native habitat. His Fight Between Buffalo and Wolves was exhibited at the Parisian Salon of 1878. In 1883, Kemeys made Still Hunt, which was cast at the local Maurice J. Powers foundry, given to the City, and placed in Central Park.

Kemey’s smaller bronze castings of animals gained the attention of the Art Institute of Chicago, which in May 1885 mounted a special exhibition of his work entitled “Wild Animals and Indians.” Through his affiliation with the Institute, he received the commission to sculpt the lions that flank the entrance of the museum; they were unveiled on May 10, 1894. The bronze statues were based on earlier models Kemeys displayed at the World’s Columbian Exposition in Chicago the previous year.

Up until his death in Washington, D.C. in 1907, Kemeys sustained an active career as a sculptor, producing numerous small bronzes as well as large-scale commissions. His colossal head of a buffalo is in the Pacific Railroad station in St. Louis, and 50 of his bronzes are in the collection of the National Gallery.

Still Hunt combines convincing natural observation with stylized detail. In 1937, the Parks monuments crew repatined the piece and secured it to the natural rock outcropping. In 1974, the sinuous tail was stolen, but a restoration in 1988, under the auspices of the Municipal Art Society’s Adopt-A-Monument Program, replicated this missing feature and reconditioned the surface of the bronze statue. Today, the Central Park Conservancy maintains the sculpture, which continues to inspire awe in weary and unsuspecting joggers as they arrive at the crest of Cedar Hill


Central Park
names for animals
Image by peterjr1961
Still Hunt

This animal sculpture, referred to alternately as a panther or a mountain lion (both names for the same species, Felis concolor), is by Edward Kemeys (1843–1907). Situated on a rock in a thicket beside Central Park’s East Drive at 76th Street, the bronze feline crouches on a natural rock outcropping in a masterful example of site-specific art.

Kemeys was born in Savannah, Georgia in 1843. His interest in animals is said to date from a summer when, at age 13, he lived on a farm in Illinois that was surrounded by frontier wilderness. After serving as an artillery officer in the Civil War, and an unsuccessful attempt at farming, he was employed in the late 1860s for two dollars a day as an axe-man on the engineering corps that prepared the grounds for the construction of Central Park.

Kemeys later recalled that while working in Central Park, he took pleasure in observing wild animals, and was inspired in 1869 when he saw an old German sculptor fashioning the head of a wolf at the Central Park Menagerie. “Quick as lighting came the thought…I can do that!” Kemeys reminisced. He soon obtained modeling material, and began crafting a sculpture of a wolf himself. Three years later, Kemeys received a commission for his sculpture, Two Hudson Bay Wolves Quarreling Over the Carcass of a Deer, which stands in the Philadelphia Zoological Gardens in Fairmont Park, Philadelphia.

Buoyed by his early success, Kemeys traveled west in 1872-73, where he hunted, lived with Native Americans, and studied wild animals in their native habitat. His Fight Between Buffalo and Wolves was exhibited at the Parisian Salon of 1878. In 1883, Kemeys made Still Hunt, which was cast at the local Maurice J. Powers foundry, given to the City, and placed in Central Park.

Kemey’s smaller bronze castings of animals gained the attention of the Art Institute of Chicago, which in May 1885 mounted a special exhibition of his work entitled “Wild Animals and Indians.” Through his affiliation with the Institute, he received the commission to sculpt the lions that flank the entrance of the museum; they were unveiled on May 10, 1894. The bronze statues were based on earlier models Kemeys displayed at the World’s Columbian Exposition in Chicago the previous year.

Up until his death in Washington, D.C. in 1907, Kemeys sustained an active career as a sculptor, producing numerous small bronzes as well as large-scale commissions. His colossal head of a buffalo is in the Pacific Railroad station in St. Louis, and 50 of his bronzes are in the collection of the National Gallery.

Still Hunt combines convincing natural observation with stylized detail. In 1937, the Parks monuments crew repatined the piece and secured it to the natural rock outcropping. In 1974, the sinuous tail was stolen, but a restoration in 1988, under the auspices of the Municipal Art Society’s Adopt-A-Monument Program, replicated this missing feature and reconditioned the surface of the bronze statue. Today, the Central Park Conservancy maintains the sculpture, which continues to inspire awe in weary and unsuspecting joggers as they arrive at the crest of Cedar Hill

Tuesday, August 18, 2015

Frog

Check out these animals endangered images:


Frog
animals endangered
Image by meowdip
This aquarium specializing in frogs had the first succesful captive breeding of two endangered species in the last year. The staff were really nice as well, including a frog obsessed Canadian who showed us around.


G
animals endangered
Image by K's GLIMPSES


White Tiger
animals endangered
Image by K's GLIMPSES

Saturday, August 15, 2015

12-05-2003 Geneva, Natural History 0002

A few nice extinct animals images I found:


12-05-2003 Geneva, Natural History 0002
extinct animals
Image by clare_and_ben


12-05-2003 Geneva, Natural History 0003
extinct animals
Image by clare_and_ben

Friday, August 14, 2015

Kiowa Tribe of Oklahoma Seal

Check out these names for animals images:


Kiowa Tribe of Oklahoma Seal
names for animals
Image by Native American Seals/Logos
PROFILE AND CULTURE

Before the Kiowa people signed the Medicine Lodge Treaty and moved to the reservation, they; were grouped into two local divisions known as "To-kinah-yup" or "Men of the Cold," and "Gwa-kelega", in their association with the Comanches. These two names were local differentiation's equivalent to the northern and southern division Kiowas. The northern division ranged along the Arkansas River and the Kansas frontier. Among the Kiowas, there were six sub-tribes, which formed the camp circle. The sub-tribes were based on extended family divisions, each having its own leader. Each divisional leader and his followers had their own particular dialect and special religious ceremonies.

The Kiowa camp circle faced east with each sub-tribe located in a clock-wise position around the circle in order of rank and importance. The first position was occupied by the largest and most important division of the tribe, which was assigned the task of providing the bison for the annual Sun Dance. The second position comprised a division comprised a division who led the war ceremonies. Next were the Kiowa proper, believed to be the original nuclei of the Kiowa tribe, who were the keepers of the Tai-me and were charge of the priest's tipi at the Sun Dance ceremony. The forebears of the Kiowa-Apache formed the fourth position. A group named after a Kiowa mythical character held the fifth place. Occupying the last place in the circle was a division who was annihilated by the Dakota tribes in the late 1700's in Kiowa history.

Status within the Kiowa tribe was ranked by a series of social classes with the wealthy families functioning as an aristocracy. A person could earn the right to move up in society if he or she acquired the abilities and skills meriting respect and honor required for achieving a higher rank. There were many instances of people rising to eminence from poor and unfavorable beginnings. There were also cases of status being lost as result of a dishonorable deed.

The bison played a significant role in the life of the Kiowa as the major source of food and raw materials for all living necessities. Although the bison was plentiful the Kiowa never killed the animals wantonly, or for sport. Bison were killed only out of necessity, whenever food, clothing or shelters were needed.

Generally speaking, Kiowa tribal society was male-oriented. Women gained prestige through the achievements of their husbands, sons, and fathers. Personal glory for women came through attractive appearance and diligence in learning skills such as tanning, skin sewing and beadworking.

There was another side of Plains American Indian life that was less frequently told. This was the women side; the side of the persons who get the warriors s ready for their expeditions. A Kiowa woman was in charge of everything and everyone in and around her tipi. Kiowa Men were in charge of everything else away from the tipi. Statistically, females form fifty-two percent of the American Indian population group. They probably comprised a higher percentage in most Plains American Indian tribes, for we know that polygamy was an economic necessity to them. The surplus of women and children in a fighting, hunting population must be cared for.

The Kiowa woman, or indeed the woman of any other Plains tribes, was a strong personality in her own right. A weak woman could not have lived with men as strong as those of the Plains, at any time. The Plains American Indian woman exercised absolute control within her home, and a considerable amounts outside it, and still does so today.

Of course a Kiowa lady did not push herself forward, raise her voice, or make a scene, any more than did her Victorian contemporary and counterpart. A wise Kiowa woman got her way and kept her household together as a wise woman does anywhere, by not asserting herself until such action was necessary by circumstances. But she got her way, and held her household together into her own old age, nevertheless.

The children raised in this culture-reflected behavior learned from each parent. Boys were left with their mothers and sisters until they were ten or twelve years old. Then, directed by older youths, they began to herd the family horses; take them to pasture and water in the mornings, and return them to camp at night. Gradually, imperceptibly, the boys moved out of the tipi world into the men's. From herding they graduated to horsebreaking; then to buffalo hunting, and finally they were permitted to accompany raiding parties as horseholders and cooks. Like mediaeval pages and squires, they were learning a man's responsibilities and attitudes by acting-out.

In the same way, girls drew back into the tipi world. They no longer fished in mud holes for crayfish, or twisted sticks into prairie dogs fur to draw the rodents out of their holes. Instead of carrying shawl-wrapped puppies on their backs, they slung small sisters or brothers between their shoulders. The first fumbling stitches with awl and sinew, which had produced a girl's workbag and needle case, were tightened and perfected until she was skilled enough to make moccasins.

The same virtues were held up before both boys and girls. Speak quietly. Don't hurry. Wake early so the sun will not see a lazy child. Remember to say your prayers and wash your face at night and morning. Always be respectful to the old people, and go out of your way to help them, for they are your memory and your conscience.

Ideal behavior was not the same as real behavior, naturally. But the ideals existed plainly for anyone to emulate. Even today, Kiowa parents hush their children when older people are speaking, and expect them to do a share of housework and work around the home.

Plains American Indian women were the day-to-day craftworkers of their people. A Kiowa woman made her home (and owned it); she was dressmaker, tailor, carpenter, cobbler, grocer, and cook for here family. She worked steadily and with pride in here achievements, day after day, year after year.

At the age of eight to ten years, Kiowa boys were called upon to perform the Rabbit Dance of their special society. After their initiation into the first society, the youngsters advanced through the following orders of military societies depending on their sub-tribe or family: "Adal-toyui", or "Young Wild Mountain Sheep", named for the daring and aggressive deeds of the young warriors in battle; "Tsain-tanmo", or "Horse Headdresses," were comprised of five warrior societies; the Wild Horse, the Black Horse, the White Horse, the Buckskin Horse and the Wise Horse Society which usually indicated men who were considered strong in the ways of the Wise Horse or physically and mentally mature. The Tiah-peah", or "Gourd Clan"; the "Tone-kone-gya" or "Black Leggings" and the Eagle Shields comprised the top military societies. The highest-ranking society was the "Koi-eet-sen-ko" or "Kiowa Dog Soldiers"; comprised of ten men picked for outstanding bravery. These men acted as camp police and leaders in tribal ceremonies with the distinction of taking first position in hunts and in battle. The Omaha Tribe gave the Oh-ho-ma Society to the Kiowas in the late 19th century.

Warfare required utilization of shields painted with individual emblems of protection. Women, because they had their own special powers, were not allowed to touch the shields and special covers were fashioned to protect the shield from view.

Among the early Kiowa people, Although clothing was simply made and decorated, the Kiowa, like other tribes, had their own designs that identified them. The specific style of dress carried through the cut of shirts, leggings, and moccasins. For example, the Kiowa man's shirt consisted of a slipover garment fringed along the shoulders and decorated with a minimal amount of beaded or fringed designs. Kiowa men had a distinctive moccasin style with full-flowing fringes applied down the center of the moccasin. Women's leggings or boots had small individual designs and no fringes. Boots were worn during the winter months while moccasins were worn during summer. Women's clothing consisted of a skirt and pullover blouse made of soft buckskin. Women wore their hair in braids and, on special occasions, painted the part of their hair as an added adornment. Pride in the care and length of one's hair was foremost in personal vanity. During mourning, the mother or wife of the deceased cut her hair to a very short and unattractive length as personal sacrifice for the loss of a loved one.

In accordance with early customs, Kiowa men also had a unique hairstyle. The hair on the right side was cut short on a level with the base of the ear, leaving the left side to grow to a full flowing length that was braided and often wrapped in otter fur. Hairstyle was a means of identifying themselves as Kiowa people to other tribes. This was also accomplished through sign language, using a quick motion of the right hand close to the right side of the face with the back of the hand down, fingers closed and slightly curved, moving the hand in a quick, circular motion from the wrist away from the cheek.

The manner in which children received names are one interesting aspect of Kiowa culture. Names given newborn babies might be acquired several ways. A name could be given as a result of a certain deed or act performed by the father. Sometimes, a notable occurrence at the time of birth, or the first thing either of the parents saw after the birth, gave them an idea for the child's name. In certain instances, an older tribal member gave names to a younger person as a means of honoring a respected name.

Linguistic similarities between the Kiowa language and that of other tribes; have never been fully established. The failure to establish linguistic relationships may be partly due to the fact that their last known homeland of the Kiowa was in the north around the British Columbia area. Migrating southward in their nomadic wanderings, the Kiowa brought with them an unknown language. Another reason for difficulty in pinpointing the linguistic origin of the Kiowa from everyday language, was the taboo against saying any word that might suggest the name of a deceased person. Because of this taboo, another word, substituted for the offending word, introduced a new combination of the existing roots.

Not so long ago, as well as here and now, the Plains American Indians have always been people to appeal to the imagination. Say "Indian" to the average American, and certainly to the average European, and the picture you conjure is that of wild, red-painted warriors, mounted on frantic, flashing horses; men and mounts alike adorned with eagle feathers and the colors of quills, beads, painted buckskin, crimson and navy trade cloth, and the dull sheen of German silver. This would be a good description of the Kiowas.

You know, everything had to begin, and this is how it was: The Kiowa Tribe was bound together in its legendary beginnings, when the earth was empty of people. Saynday, known to American Indians as Trickster, wandered alone on the sunless earth until he discovered the Kiowas living underground. He enabled the people, as ants, to crawl upward through a hollow cottonwood tree and pulled them through an owl hole upon the surface of the earth. They were many more than now, but not all of them got out. There was woman whose body was swollen up with child, and she got stuck in the log. After that, no one could get through, and that is why the Kiowas are a small tribe in number. They looked all around and saw the world. It made them glad to see so many things. They called themselves Kwu-da, "coming out." Saynday spoke in a language understood by animals and by people. No distinction existed between the Kiowas and other living creatures. All are of nature's whole, part of the earth maker's creation. When a Kiowa says "Behold, I stand in good relation to all things," he reflects his feeling of oneness with the universe.

The Kiowa, in later years, have also referred to themselves by the name "Kom-pa-bianta", or people of the "large tipi flaps", a distinguishing feature of their tipis. This name was known among the tribes long before their affiliation with the Southern Plains tribes. Today, they call themselves "Koi-gwu" which identifies them as a tribe. A Band of Apaches, later called the Kiowa Apaches joined up with the Kiowas, nobody knows when, and have been with the Kiowas ever since.

The earliest historic knowledge of the Kiowa Tribe tells of them as living along and around the upper Columbia River in the Kootenay Region of British Columbia, Canada. They lived where the springs flowed westward. Up to this time, the Kiowa had no horses and they used only dogs and the travois for travel. Later they acquired horses, which revolutionized their lifestyle. The traders of Canada's British Columbia gave the first written account of the Kiowa in that area in the 17th Century.

They migrated from the Arrow Lakes area in the late 1600's to the Upper Yellowstone in an area described as a region of great cold and deep snow. The mountains in the area, which is now western Montana, are to this day called Koi-kope, or "Mountains of the Kiowa", by the Kiowa people. In this part of the country a decisive dispute between two Kiowa chiefs over a mountain goat killed during a hunt resulted in one chief withdrawing his band to the northwest. These lost people are called "A-az-tan-hap", or "those who went away suspiciously."

The other chief and his followers traveled to the southeast and, for the first time, met the Crow tribe. The Kiowa from the Crow during this alliance acquired the present Tai-me or Sun Dance medicine and the sacred arrow lance. During this time the Kiowa also acquired horses. While in the vicinity of the Missouri River, the Kiowa also became friendly with the Arikara, Mandan, and Hidatsa. After obtaining permission from the Crow people, the Kiowa group settled east of them, then on into the Black Hills about 1780. It was here that the Lewis and Clark Expedition came across large Kiowa encampments. During this time, they came to know the Cheyenne, Arapaho, and later, Dakota tribes invaded the area.

The Kiowa continued downward through Nebraska and Kansas to Oklahoma and Texas. In moving into the Southern Plains area, the Kiowa became allied with the Comanche tribe, and together they became the dominant inhabitants of the Southern Plains. The Kiowa made long expeditions into Mexico, establishing headquarters in the Sierra Madre, from which they made trips all directions, even as far south as Oxaca, Chiapas and even to Guatemala. Some of these journeys are known to have taken as long as two years.

The Kiowas were fierce warriors and are credited with stopping the progress of the Pacific Railroads westward for 40 years. They are also credited with killing more U.S. Soldiers than any other tribe. The Kiowas and Comanches stopped the northern expansion of Spain, France, Mexico and the Republic of Texas at the Red River. The Kiowas started with good relations with the U.S. in the late 18th century until later in the 19th century when greedy special interest groups bankrolling corrupt politicians in state and federal governments began double dealing and passing laws to steal Kiowa rights as a sovereign nation, lands and money that started the conflicts, treaties and legal battles that still continue to this very day.

Sign language is often attributed as an invention by the Kiowas for trade, and spread among the Plains Tribes. The further away from the Kiowas you go, the less Sign language is used or is unknown among some American Indians.

Currently tribal records show that there are approximately 11,500 enrolled members of the Kiowa tribe and still growing strong. While a majority of the people still lives in the vicinity of their original land allotments in western Oklahoma, many Kiowas left the state in search of employment under Federal relocation programs to the major cities during the 50's and 60's.

Many Kiowa people are extremely skilled in making a wide variety of arts and crafts products that provide their family with supplemental income. Documentation of the history and development of contemporary Kiowa art formulates one of the most unique records in American Indian culture. As early as 1891, Kiowa artists were being commissioned to produce works for display at international expositions. In 1918, a selected group of young Kiowas were given formal art instruction through the auspices of a mentor, Mrs. Susan Peters, who later would be instrumental in seeing the same group enrolled as special students at the University of Oklahoma's school of Art. This group which included Spencer Asah, Stephen Mopope, Jack Hokeah, James Auchiah and Monroe Tsatoke, became known as the "Five Kiowa Artists," a term which has remained popular use to this day. The "Five Kiowa Artists" were the first American Indian artists to receive international recognition for their work. The influence of this group upon succeeding generations of American Indian artists, not only among the Kiowa, but among their fellow Southern Plains American Indian tribesmen as well, has been of inestimable importance.

Traditional craft skills are not lost among the Kiowa people today, many of whom are extremely talented craftsmen working in a variety of media including buckskin, beads, featherwork, and German (nickel) silver. The quantity and quality of craftwork produced by Kiowa people places them solidly in the foreground of American Indian arts and crafts today. As a result of the steady production of fine arts and crafts products by Kiowa people, a highly successful enterprise, the Oklahoma Indian Arts and Crafts Cooperative has flourished during its 20-year existence. The Cooperative, an American Indian owned an operated crafts enterprise housed in the Southern Plains Indian Museum and Crafts Center, draws approximately one-third of its membership from the Kiowa tribe.

In addition to their achievements in the fine arts, Kiowas are gifted musicians and dancers. Noted among Kiowa composers of contemporary music include the Cozad family, noted for their contributions to American Indian culture. The Kiowas have always had their traditional style of war dance, call the Straight Dance. Although the fancy war dance did not originate among the Kiowas, Kiowa dancers must be credited with many refinements in dance steps and costume embellishment.

In 1968, the Kiowa Tribal Council was organized to govern tribal affairs in specific areas such as health, education and economic development. In order to alleviate the problems of inadequate and outdated tribal housing, a Kiowa Housing Authority was organized with tribal members serving as a governing board. Many Kiowa people qualified for the housing program and today are living in new homes provided by the Kiowa Housing Authority. However, their are still many, especially the elderly, who need new housing and live in old structures dating back to territorial days because of lack of funding because of cutbacks, despite the housing provisions promised in the Medicine Lodge Treaty and Government Trust Relationship, "as long as the grass grows and the water flows".

Other advancements have been made in higher education with an increasing number of Kiowa students attending colleges and universities under Federal grant programs. Having taken advantage of the educational opportunities provided to them, many Kiowa young people are today preparing themselves for professional careers. With the higher education of young Kiowa tribal members lies the prospect of the bright future of accomplishments and advances for the entire tribe as it continues to grow and thrive into the 21st century.

Today the Kiowas are openly giving recognition to their traditions. There are many Kiowa champion drum groups and traditional dancers in the Pow Wow world. In the 1950s the Kiowas revived two of their old warrior dancing societies - the Kiowa Black Leggings (Ton-kon-ga) and the Kiowa Gourd Clan (Tia-Piah). By the late 1970s the O-Ho-Mah Society showed signs of new life. All three organizations have revived their traditional ceremonial dances with the ancient songs and rituals. The growing strength of the Kiowa Native American Church with its traditional ceremony now protected by the Indian Religious Freedom Act of 1994 also reinforces the resurgent enthusiasm in continuing religious traditions.

Although the tribal members have established their roots in Kiowa traditions, they have not ignored the present. Kiowas can be found today in all walks of life and around the world. As revealed through language, dance and song, Kiowa culture is healthily growing in the present while tenaciously preserving the culture for the future.


Imaginary Mosaic
names for animals
Image by SidewaysSarah
"Give an imaginary/fictional name for each of:
1. pub
2. fictional character
3. steam engine (loco)
4. passenger liner (or battleship)
5. place
6. company
7. restaurant
8. cosmetics range
9. railway station (or airport)
10. air force base (or army camp)
11. model of car
12. pet animal
Let your imagination run wild!"

1. The Silver Dragon
2. Nik Harris
3. The Flying Dolphin
4. Special Delivery
5. Rocky River
6. Tax On Me
7. Sarah's Diner
8. Eau Clair
9. Q X Q
10. Fort Snoopy
11. Leon
12. Darby

1. Paper and Wire Sculpture: Melusina, 2. Kintbury vicarage, 3. Pigeon framed by arch of Pulteney Bridge, 4. Fuselage road trip, 5. Rockies-09-3-Bow Lake South, 6. Powerbook - iBook comparisson, 7. Diner Jukebox, 8. Fiestaval Preview 05, 9. labyrinthine circuit board lines, 10. Swetsville Zoo, 11. Clap, clap, clap!!!!, 12. The Big Peanut in the Sky


Marakele National Park
names for animals
Image by picmasta
Some pictures of a trip to South Africa in Oktober 2011.

Taken with an Canon Eos 60D post processed with Adobe Lightroom 3.

The Marakele National Park in the heart of the Waterberg Mountains, as its Tswana name suggests, has become a 'place of sanctuary' for an impressive variety of wildlife due to its location in the transitional zone between the dry western and moister eastern regions of South Africa.

Contrasting majestic mountain landscapes, grass-clad hills and deep valleys characterize the park. Rare finds of yellowwood and cedar trees, five metre high cycads and tree ferns, are some of the plant species found here. All the large game species from elephant and rhino to the big cats as well as an amazing variety of birds including what’s probably the largest colony of endangered Cape vultures (more than 800 breeding pairs) in the world, have settled here.
www.sanparks.org/parks/marakele

Sunday, August 9, 2015

Shine on

Some cool photos of animals images:


Shine on
photos of animals
Image by Mark Witton
It’s summer blockbuster season at the cinema. This year, we’ve already had another superhero flick, a new Terminator doing the rounds at the moment, giant transforming robots hot on his heels, and an angsty teenage wizard following behind that. Depending on your point of view, this is either the best time of the year to visit the silver screen or good reason to stay outside and work on your suntan. For me, it’s got to be the latter: sure, I loved the blockbusters of my day: Ghostbusters II, Independence Day and Jurassic Park stand out as memorable cinema trips from yesteryear, but, even though the same people are still making the movies, I’ve grown out of them. The Jurassic Park guys had a heavy hand in the new Indiana Jones movie, and it was crap. Likewise, the Independence Day boys have filled our screens with several unadulterated pieces of tripe, Godzilla, The Day After Tomorrow and 10,000 BC. I figured that it was them doing something wrong, that they’d lost some of their magic in the way that musicians can loose their spark over time. Unfortunately, I checked: their old movies are just as bad, it’s just that I’m no longer a puppydog that laps up any onscreen action as long as the movie as plenty of roary-roary creatures and some lasers.

Nowadays, being a whole week and a bit from 25, I’d rather watch a movie based on Chekov than Clancy, or be confused by Lynch than bored by Bruckheimer. The difference is the emphasis on scale: I don’t need big set pieces, action and devious plots to overthrow the world as we know it to be entertained: I just need two people in a complicated relationship, perhaps an edge of surrealism, and I’m very happy. I want to be emotionally challenged: I’ve seen enough celluloid explosions already, now I want to see real life. Give me longing and desire, or explore the brevity of happiness. Show brooding revenge and darkness, or people struggling with their own salvation. Instead of chases involving gruff men in black cars, I want people running away from their pasts. This is the stuff that makes for a rewarding film. American Beauty or, say, Mulholland Drive may be stories set within a narrow space and feature only a handful of players, but they offer a reward that just can’t be paralleled by any globe-trotting, high-octane thrill-seeking adventure with dozens of characters.

The same can be said for your world of pterosaur research*. There well over 100 pterosaur species now known and you can make a good name for yourself by studying the whole lot of them at once. Work on, I don’t know, an epic comparison of flight styles or some sweeping study of their systematics. Tell the world that everything they thought they knew about one aspect of pterosaur palaeobiology, mass estimation, say, is wrong, or reveal a finding from one critter that has implications for the whole clan. Alternatively, you could be really, really specific and work on just a few species at once. This is also kind of cool, because you become a total expert on that one little clique: you know everything of note that’s ever been said about them, and can spout streams of information to anyone foolish enough to ask. While this doesn’t really put you in excellent stead for conversation at parties, it does mean that you begin to feel a real affinity for your little corner of the Big Picture and you can tell the Big Boys doing the grand, epic work things that they just haven’t had time to notice.

*Yes, yes, I know: flimsiest link ever.

This brings us neatly to one little group of pterosaurs, Thalassodromidae. They’re the sexy-looking pterosaurs with stonking sail-like headcrests made entirely from bone and, for the moment, we only know of two genera: Tupuxuara and Thalassodromeus. They both come from the Cretaceous Santana Formation of Brazil and, to date, there’s no conclusive evidence that they existed anywhere else. There are some pterosaur arm bones from Europe and Texas that could be thalassodromid, but they could also be something else. Regular readers, if I’ve got any left after such a long posting hiatus (I have good reasons, honest) will recognise them as reasonable regulars of this corner of cyberspace: they appeared yonks ago in my first-ever press release image (the consequences of which are another reason for my lack of posting – fair number of folks after original artwork, these days) and then appearing several more times, most notably in the ‘down with skim-feeding’ press work of 2007. They were also a focal point of my PhD, as I not only discussed their feeding habits through research into skim-feeding, but also looked at virtually ever aspect of their taxonomy. Turns out, y’see, that the thalassodromid story is far more complicated than you might expect, full of enough twists, turns and heightened emotions to fill a period drama. Here's why.

Firstly, their name: Thalassodromidae. Not much can be controversial about a name, right? Well, there’s been some disagreement about whether the group should be christened this or another moniker, Tupuxuaridae. No one’s actually come to blows over this yet, but different teams of authors have firmly stuck to one name or the other. While you may imagine that there’s no real issue with using different names for the same group, it defies the weighty International Commision of Zoological Nomenclature, the institution that has governed the naming of animals since 1895. These chaps state that you cannot name the same animal, or the same group of animals, more than once. This is sensible enough, especially when you’re trying to write specifically and scientifically, and both Tupuxuaridae and Thalassodromidae are exactly the same thing, so there should only be one name. Thankfully, the ICZN provides guidelines to suss this sort of thing out, and, typically, the earliest name wins out. This would make Tupuxuaridae the winner, as this was first coined in 2006. However, it was only mentioned in passing as part of a discussion over pterosaur phylogeny and, in fact, it was almost certainly an error: the authors of the paper were paraphrasing another set of authors who mentioned tupuxuarids, not the formalised term Tupuxuaridae. Is this a big deal? In the eyes of the ICZN, yes: their code explicitly states that names need to be erected explicitly, and the casual naming of the group in the 2006 doesn’t cut this gravy. Or mustard. Whatever, the important thing is that Thalassodromidae, despite appearing a year later (2007) was erected explicitly, and therefore takes priority.

So, now we know what to call them, then, but what are they? There’s no disagreement that they belong to Azhdarchoidea, the same pterosaur group as the short-faced tapejarids, stork-amatic azhdarchids and slender-skulled chaoyangopterids, but which one of these groups are they most closely related to? This argument has been raging since at least 2003, with some authors saying their crest structure ropes them to Tapejaridae, while others argue that other aspects of their skulls and skeletons tie them to azhdarchids and chaoyangopterids in a group termed Neoazhdarchia. The jury is perhaps still out on this, but I think the weight of evidence places thalassodromids in Neoazhdarchia: all pterosaurs in this group have long, straight jaws with shallow mandibles, relatively long snouts in front of their nasoantorbital fenestra (that big hole positioned in front of the skull in pterodactyloid pterosaurs), eye sockets significantly positioned below the top of the same opening, straight or concave margins along the top of their snouts and a fused shoulder region (the notarium). Several features have also been used to lump thalassodromids with tapejarids, but the only remaining valid character of this pairing is that their headcrests start at the front of the skull. Compared to the number of characters that suggest the contrary, this is argument is pretty weak and, for my money, nowhere near as well supported as the Neoazhdarchia hypothesis.

OK, so we’ve got a name, and a good indication where they fit on the pterosaur tree, but how many thalassodromids are there? We've already mentioned the two genera of the group, Tupuxuara and Thalassodromeus, but how many species were there? Well, more than most have suggested, in my view. Circa 2002, we recognised two species of Tupuxuara and single speceis in it's sister genus, Thalassodromeus. Then, the controversy wand was waved again and it was suggested that all these taxa represented different ages of one Tupuxuara species. This has since been proven not be the case, and we’re back to at least three species again. At least? Yes, at least: there’s two Tupuxuara skulls with unusually reclined crania, particularly low orbits and angular, diamond-shaped nasoantorbital openings. These features aren’t known in any other Tupuxuara material, suggesting these skulls may represent a third Tupuxuara species. Problem is, one Tupuxuara species is only represented by rostral remains, and these elements are unknown in the two Tupuxuara skulls with peculiar crania. Hence, the two morphologies cannot be compared and we’re left wondering if we’ve got three or four thalassodromid morphs in the same locality. Sheesh.

So, thalassodromids are clearly a taxonomic minefield, with disagreements over just about every aspect of their systematics. Do details of their palaeoecology fare any better? Well, not really. My Portsmouth chums published a paper a few years back about growth in thalassodromid headcrests, noting from an immature specimen that the top-portion of the crest appears to grow along the skull as the animal aged, suggesting only fully-developed adults would sport the full flamboyance of a thalassodromid headcrest. This isn’t the fist time such a finding has been made, of course: we know that at least some other pterosaurs underwent similar growth patterns, and thalassodromids seem pretty typical in this regard. Even this finding is tinged with a caveat, though: the specimen that showed this growth strategy, identified as Tupuxuara by my buddies, is very probably a piece of Thalassodromeus. D’oh.

And then, of course, there’s the skim-feeding stuff. Thalassodromeus, y’see, was meant to be the Pterosaur Skim-Feeder Extraordinaire, and it’s descriptors were so confident of it’s proposed feeding habits that they named it, accordingly, ‘sea-runner’. It’s no secret that I think this is hokum, but I’m not going to write out why again: it will suffice to say that biomechanical modelling and comparative anatomy have clearly demonstrated the total lack of substance behind the proposed skim-feeding habits of Thalassodromeus and all other pterosaurs, for that matter (and yet, bizarrely, it still crops up from time-to-time in the technical literature).Unfortunately, there has been no further investigation into exactly what thalassodromids did do for a living, but some loose conclusions can be drawn from their skeletal bauplan. Like other azhdarchoids, their wings are relatively short and, bearing a relatively low aspect ratio, would’ve been handy for flight in terrestrial settings (what with the high lift such wings produce, not to mention the fact that their stunted ends will clip less vegetation). Their hindlimbs are pretty typically developed for non-ornithocheiroid pterodactyloids, meaning they were probably quite comfortable when milling about terrestrially. The neck of Tupuxuara is pretty short but otherwise strong and flexible: it bears no indications of dip-feeding, but it presumably didn’t place as many lifestyle-restrictions on its owner as the necks of azhdarchids probably did. Thalassodromid skulls show some variation: the Tupuxuara skull is quite slender and delicately-built with flat occlusal surfaces at the jaw tip, whereas the skull of Thalassodromeus is pretty durned chunky and has laterally tapered, superficially scissor-like jaw tips. Presumably, this reflects niche partitioning between these contemporary genera, with Thalassodromeus perhaps capable of taking relatively big prey compared to the delicately-built Tupuxuara. In fact, I’ll bet that the bladed jaws of Thalassodromeus were quite a limiting factor on prey size: while they would increase bite pressure along the occlusal margins, bladed jaws might make handling small foodstuffs awkward – imagine substituting chopsticks for two knife edges and you’ll see where I’m coming from. There’s nothing noted in their skeletons to suggest a preference for any type of prey however, so we may provisionally conclude that thalassodromids were generalists that ate anything from fish through to small dinosaurs. However, seeing as excellently, excellently preserved, complete thalassodromid skeletons are still sitting on museum shelves awaiting description, we may eventually be able to pin down their habits more specifically when more details of their anatomy are known.

And that, dear friends, may be all we can sum-up about thalassodromids for the time being. Like a Gore Verbinski movie, it's been a tale of frustration and convolution and there’s clearly some way to go before all the loose ends are wrapped up. However, the point here, I suppose, is that so much drama has been got out of so few species from one point on the map, and that sorting out these relatively minor controversies can be just as rewarding as figuring out some enormous, pan-palaeontological issue.

And, speaking of very focused views, there’s a profile up top of the aforementioned Tupuxuara with a strange skull, complete with a frog dangling from its mouth. It’s not the most exciting contribution to my portfolio and, what with the lighting and all, you can only just see the low orbit and reclined crania. Oh well: at least it’s something new and, hey, I’ve never seen a pterosaur depicted in lateroventral view before. And that’s important. Like recycling.

And on that note, I’m starting to yawn with alarming regularity and should shove off to bed. Before I go, though: apologies to all those who've tried to contact me with no success in the last few months: I'm not deliberately being rude or lazy, just a bit swamped. Accordingly, this leaves me a bit knackered most of the time, just like now. Hence, with the Sandman a callin', toodleoo for now.


O is for Orca
photos of animals
Image by timmyjohn1
I changed the title of this photo after someone reminded me that these are not technically "killer whales" rather a species of dolphin.

This is part of a project that I'm putting together for my daughter...She loves animals and we thought that this would be a great way for her to learn the alphabet...I have some gaps.


Cotton Mouth Snake
photos of animals
Image by .imelda
Flickr Explore April 6, 2007

Taken By Danielle

I sent my daughter to take this photo of a snake we found on our way home. It was pretty close to our house. We live by a creek in a suburb and we see all kinds of animals on the pavement. My husband has seen a few snakes but dead so we took these for him. We had no idea this snake could really hurt Danielle. I kept yelling, "Get the shot! Get the shot!" While she was telling back, "He's going to eat me!"

Saturday, August 8, 2015

Cool Stuff Animals images

Some cool stuff animals images:


Aye-aye
stuff animals
Image by cenz
"In some parts of Madagascar, the aye-aye is regarded as a harbinger of evil and killed on sight (The Sakalava believe that the aye-aye enters houses during the night through thatched roofs and murders the sleeping human occupants. It supposedly uses its elongated finger to cut the aortic vein of its victims"
A very freaky animal, even when not stuffed, and one of my favourites. Note the strange long third finger (it looks like a twig) used for prising insects out of bark.


stuffed.JPG
stuff animals
Image by thefancyblog
stuffed animals at Playland

Thursday, August 6, 2015

Nice Free Animals photos

Check out these free animals images:


Free Cat Pet Catalogue from Japan
free animals
Image by sillypucci


Lounging kangaroos
free animals
Image by ellenm1
The one in the middle is in a very human pose. The kangaroos are free to move anywhere within their large enclosure. The humans have to keep to the path in the middle.


Baaah Baaaah II
free animals
Image by jumpinjimmyjava
Slightly different version.

I used my FREE "My Tent Canvas" texture to create this photo.
What version do you prefer, if indeed any !

www.flickr.com/photos/jimmybrown/3913635792/in/set-721576...