text:
Early Modern Bees
Writing about Honey Bees and Beekeeping, 1470-1700
Category: Period
A Discourse of Wit (1686)
For Men considering the wonderful, and most skilful, and inimitable Actions of Apes, Elephants, Swallows, Bees, Dogs, &c. were loath to allow them to be endowed with some king of Reason, as if they should thereby range themselves among the Beasts.
– Abercromby, 1686, p. 10.
Nature. What does this word mean to you? For me, the first thing that comes to mind is the collective phenomena of the physical world; the plants, animals, insects, birds, mountains, sea, soil and so on. For most of us what does not generally come to mind are humans or the things that we create. Why is that? Are we truly not of nature? Are we something else? Is it just a cultural or linguistic thing?
We have been brought up to think in this way – conditioned if you will. Nature is commonly used as a shorthand to describe the non-human world. This, at least, is one description that the Oxford English Dictionary gives for Nature, but it is not the only one, nor the most prominent.
Nature means all kinds of things, things that most of us don't really think about. According to the Oxford English Dictionary, it can relate to the power or strength of a thing or person, sexual impulses and bodily functions, feelings, and senses. As the word cloud below suggests, nature means many things, to many people, but it seems that in all cases it relates to things that humans feel are somewhat out of their control.
Figure 1: Word cloud created from descriptions of 'Nature' (n) in the Oxford English Dictionary
It is the nature of things, we say when something happens that we can't stop or easily change. Plants, animals and other aspects of the Earth are called Nature as they, too, are not easily controlled by us, although we do try.
Where nature does apply to humans it's in the form of something that we call 'human nature'. We tend to use this term most often as an excuse; a reason perhaps for excusing our own fallibility or to explain wayward or taboo patterns of behaviour. It is something negative. Is this a misunderstanding? Are we wrong to think of ourselves as something different than nature? As Satish Kumar, Editor Emeritus of the Resurgence & Ecologist Magazine argues, "Humans are as much part of nature as the mountains, the animals, the birds, and the butterflies".
All of this suggests that Nature is a challenge to what we believe ourselves to be, rather, perhaps, than what we are. It suggests a separation of uncontrollable elements from our belief in ourselves as intelligent, unique, and civilised beings. We aspire to escape our natures and the uncontrollable physical world, by considering what we create and therefore control as not nature, but human.
None of this is new. In 1682, a Scottish physician and philosopher David Abercromby (d. 1701?) tried to argue that animals had reason and wit. In doing so, he went against established theories about the uniqueness of humans, and against beliefs that the animal realm was thoughtless, wild, and uncivilised. As one small part of that argument, Abercromby argued in his A Discourse of Wit, that Apes, Elephants, Swallows, Bees, and Dogs could all be demonstrated to show both reason and wit. He claimed that humans had been generally 'loath' to admit that these animals might have 'some kind of Reason' as that might suggest that, after all, we are little different than beasts. Indeed, Abercromby believed that humans were only a little different. He described animals as rational creatures, but did admit that they were 'of a lower Rank, and less perfect than Men' (Abercromby, 1682, 10).
This was not the only reference that Abercromby made to Honey bees as displaying some form of wit and reason that demonstrated a limited uniqueness of humanity. A few pages later he described the honeycomb as a 'Pleasure and Admiration, a very accurate, and regular piece of Fortification' (Abercromby, 1682, 12). In other words, the regularity of shape, the effectiveness, and efficiency of its design, was proof enough that honey bees could be just as ingenious as humans.
Whilst I love this depiction of honeycomb as a kind of fortification, the wording is also telling and interesting. It accidentally reveals in Abercromby a very human appraisal of honeybees. Honeycomb is so many different things to the bees; it provides structure, nurseries for their young, storage for food, a means to regulate colony temperature, but also barriers from threats. It is the latter that Abercromby thinks about when he describes the beauty of honeycomb. He describes what he would have seen if he were a beekeeper when peering into a hive – a block perfectly formed that acts as a barrier to human inquisitiveness. At the very least this signalled to Abercromby that honeybees had capabilities that can equal or beat those of a human. He saw similar reflections in spiders' webs and swallows' nests. He saw pattern. Design. Intelligence. More to the point, Abercromby saw that what we would term as nature was not all that different from us, after all.
Honey 1
Paul Tomassi, 'Abercromby, David (d.1701?), physician and philosopher', ODNB (2004) [Retrieved 3 July 2019]. DOI: 10.1093/ref:odnb/9780198614128.001.0001.
David Abercromby, A Discourse of Wit (London, 1686) – EEBO-TCP
David Abercromby (d. 1701?): A physician and philosopher from Scotland, most probably, a member of the Abercromby's' of Seaton in the north-east. In his early life he was a staunch believer in the Roman Catholic faith, going as far as to join the Jesuits in France. Abercromby published on syphilis and the pulse, and, later in life, various religious works. At first, he defended his faith from Protestantism, but later he converted himself and began to attack his old faith. He did this, most prominently, in his A new and infallible method to reduce Romanists from popery to protestancy (1682).
His other interest was philosophy. Whilst studying with the Jesuits, Abercromby published A Discourse of Wit (initially in 1685, with the second edition in 1686), in which he sought to show that humanity was not all that different than animals as all shared properties of rationality.
The Life of John Picus Earl of Mirandula (1525)
John Picus of Mirandula was born 24 February 1463; the son of John Francis Picus, Prince of Mirandula and Concordia. In his time, he was considered a prodigy for his learning, producing at an early age an excellent manual or digest to the Papal Decretals (letters and laws of the Papacy), producing poetry in Latin and Italian, and making a name for himself in composing a penegyrical criticism on the poems of Lorenzo de Medici.
In November 1486, Picus published a series of "Conclusions" which consisted of 900 propositions (subjects of discussion) about science, intended to challenge the learned of his day. To an extent his challenges worked – the learned took notice, but the text also resulted in claims of heresy regarding some of his propositions. Retreating to Florence, Picus started work on his Apologia, a work intended for the pope and meant as a means of proving his adherence to Roman Catholicism. Whilst Picus was eventually exonerated (in 1493), the Apologia itself was suppressed by the papacy. A year later, Picus was seized by fever and died at the age of 33.
Profile of Giovanni Pico della Mirandola (John Picus) from the Wellcome Trust (Wikipedia)
The work here is a translation by the famed English humanist, Thomas More, including a life of John Picus translated by More in 1504 from the original written by Picus' nephew, Giovanni Francesco Pico della Mirandola (1470-1533). The translation, as noted in 1956 by Stanford E. Lehmberg is 'quite literal' but does contain some omissions and additions that reflect More's own thoughts at this time. The rest is a collected works, containing Picus' letters, Commentary on Psalm 15, prayers, and theological treatises.
Bees and Honey
The sole reference to bees and honey occurs within the biography on John Picus. It is a reference to the fable of Ambrose in which a swarm of bees is said to have flown about the mouth of his cradle when he was a baby:
The grete saynt ambrose: a swarme of bees flewe aboute his mouth in his cradle & some entred in to his mouthe and after y t yssuynge out agayne and fleynge vp on hyghe hydynge them selfe amonge the cloudes escaped bothe y syght of his father and of all them that were present
The story further refers to the Prognostication of Paulinus for the interpretation of the fable, explaining that it signified the celestial gift of god and was worthy of lifting the 'mynde of men from erthe in to heven'. In other words, the writing is acclaimed by Paulinus as alike to 'swete hony combes' or is to be considered as the most 'plesaunt wrytynge'.
In the context of the chapter, this reference is an attempt by Giovanni to credit John Picus with equal talent to that displayed in the fable of Ambrose. He begins the chapter by claiming that a fiery garland appeared over the chamber of John's mother soon before his birth. This, we are told, was taken as a token the he would be born 'in the perfection of understandynge' and be a 'perfyte fygure' much like the perfect circle of the garland. Furthermore, his name would circle around the whole world (again symbolised by the garland) and his mind would fire aspiration in heavenly things (referring toe the fiery nature of the garland).
Chalmers' Biography – John Picus (Italy; 1463-1494), vol. 24 (1812) p. 484. Website.
Stanford E. Lehmberg, 'Sir Thomas More's Life of Pico della Mirandola', Studies in the Renaissance, 3 (1956), pp. 61-74.
The Demaundes Joyous (1511)
As the UK falls further into chaos today over Brexit, it seemed timely to brighten Early Modern Bees with a few jokes to lighten the mood. The Demaundes Joyous is an early sixteenth-century attempt at a joke book, providing corkers such as: How may a man know or perceive a cow in a flock of sheep? Give up? Well the answer is simple: By sight!
My Dad tells better jokes. Really, he does. Well, perhaps not. As I near 40 years old and have a son of my own I've also begun to tell bad jokes with concerning regularity. That itself is a joke, is it not? That Dad's tell bad jokes. The Demaundes Joyous shows us that some things never change. These could easily be 'Dad jokes' or perhaps Christmas cracker jokes. They are bad, but deliberately so. Or are they?
To a modern ear these seem to be rubbish jokes, but all joking aside, context is vital here. Were these jokes bad in the early sixteenth-century or quite witty? It would be unfair and wrong as an historian to argue that these are bad jokes without understanding the humour of the age. This point is made readily by a slight resurgence of interest in Demaundes Joyous in the nineteenth century.
In Joseph Armes Typographical antiquities (1810) he recorded a claim by a Mr. Cole that 'it is a book for the vulgar, and full of jokes and humour of the time'. In 1891, P.H. Ditchfield, in his Old English Sports: Pastimes and Customs argued that 'such feeble efforts of wit did the country folk try to beguile the long evenings'. Scholars in the nineteenth century tended to look at past writings with an ahistorical magnifying glass: their view, that this past scholarship was often alien to the standards of their own age and was therefore lesser, worthless, or nothing more than the poor 'wit' of country folk. But is any of that true?
Historians who study wit and jokes argue that context is everything. Jokes rely on cultural knowledge at the time that they are made. Remove that cultural knowledge and the joke falls flat. Adam Zucker, for instance, argues that what might have been hilarious at one point of time 'come down to us as eerie fossils of rules we no longer know how to break' (Zucker, 2011, 102).
Bees and the Demaundes Joyous
So what do we find in the Demaundes Joyous? This is a short book that provides a series of jokes line after line without a gap. Each joke begins with the word 'Demand' (meaning in this context 'question') and then R. (a shorthand for 'response', or in this context 'answer'). The author is unknown, and the book was published just the once, in 1511 by Wynkyn de Worde.
Some of the jokes try to be clever. For instance,
Demand: which is the broadest water and least jeopardy to pass over? R. the Dewe.
Many, however, are naughty,
Demand: who was he that let the first fart at Rome? R. That was the arse.
Demand: what beast is it that has her tail between her eyes. R. It is a cat when she licks her arse.
The joke that refers to bees fits into the first category:
Demand: which is the most profitable beast & that men eats least of? R. That is bees.
The joke refers to the popularly understood notion that bees provide humans with profit either in terms of their ability to split into additional colonies, or in terms of their provision of honey and wax. Bees are not profitable as food in themselves, but for what they produce.
Adam Zucker, The Places of Wit in Early Modern English Comedy (Cambridge University Press: Cambridge, 2011).
A good companion for a Christian (1632)
A good companion for a Christian was published posthumously in 1632 by John Norden's son (probably John Norden Jr, although it could have been Josias). He states this in his dedicatory epistle to the Baron of Dondaulk, noting that 'my deceased Father very often surveyed the Kings lands, but now by me he humbly tenders himself to be surveyed by you'. Indeed, John Norden had been mostly known for his work as a cartographer and surveyor, but, as his ODNB biographer has noted, in times when work was scarce publishing devotional works helped to bring in some extra money (his biographer, Frank Kitchen is, however, quick to stress that Norden's publications were also a reflection of his religious devotion).
This text was only printed the once and was advertised as a series of meditations and prayers 'for every day in the weeke' relating to preparation for death. Norden's son claimed that his father had produced the treatise and left it with his children:
'to assure us, and al men that himselfe chiefly studied and shaped his courses so to dye that he might never dye, & that he prepared himselfe so to depart fro[m] the earth, that when he did leave the Earth he had no other business but to leave the Earth, for his actions were but an example of his precepts'.
The treatise is divided up by sections on each of the senses, examining first the body, then the tongue, eyes, ears, taste, smell, touch, and heart, with chapters on interestingly sub-titled subjects such as;
Signs that a mans house, body and soul are out of order
If the heart be good the words cannot be evil
Above all seek the illumination of the inward eye
The taste hath devoured many
The feet are necessary member: yet often used to sin
These sections are then followed by a long list of prayers for each day (morning and evening) and for specific purposes such as before a Sermon, or for specific persons, such as 'a short prayer for a woman with child'.
References to Bees
Norden refers to Bees twice in this treatise. The first is an example of perfection in the sense of taste. Norden argues that God in his 'wisedome and goodnesse' created both man and beast with five senses and that in some creatures he gave them perfection in a particular sense; the Eagle has perfect hearing, the Dog has a perfect sense of smell, the spider excels at touching things, and Bees in tasting. Norden goes on to explain that only man has 'reason', but that other creatures do come close in understanding 'exquisite Art'. He asks, what man can build a spider's net? What man can form honeycomb? Who can make the nest of a Wren? These examples show, Norden believed, that God gave many creatures some level of knowledge and capability, which in certain ways exceeds that of man.
The second reference appears in a chapter entitled 'The best heart hath some feelings of evill motions'. Here, Norden discusses sin. He suggests that sin is a subtle 'prompter' and 'deceiveth the heart not well instructed', but that a heart with whom 'the Spirit of God hath sanctified' can recognise the deception and dislikes the 'sundry motions which intrude themselves as it were, by stealth into it'. Norden compares such a heart to Bees removing the drones from their hive: 'to hurle them out of the hyve of the heart'. The description not only recognises the fact that drones are removed from the hive en-masse but also suggests that this is an act of removal of something sinful by the bees. This is interesting as it suggests knowledge that the drones do not forage or work and become a burden on the hive (much like sin can be on a soul).
References to Honey
There is only one reference to honey in A good companion for a Christian. Norden refers to it when describing 'taste'. He suggests that humans should use their ability to taste for the purpose 'that God hath given it', meaning to distinguish food and drink that is safe, from that which is dangerous. He refers to the difference between sweet and sour tastes, wholesome or unwholesome meats and drinks. To illustrate the point, Norden compares 'hony from Gall' noting that without taste 'thou shouldst finde no difference of the relish of edible things, the most tainted and contagious would bee as pleasing unto thee, as the most salutary'.
Frank Kitchen, 'Norden, John (c.1547-1625)', ODNB (2004). DOI: 10.1093/ref:odnb/20250
The horse the ghoos & the sheep (1477)
There is very little to say about the poem of The Horse, the Goose, and the Sheep (published c.1477), by William Caxton, in terms of its sole reference to bees. The poem was written by John Lydgate (c. 1370-c.1451), who by this time was dead some twenty-five years.
The reference to bees is one in a long list referencing the correct terminology for a group of something, in this instance, 'a swarm of bees', which fits into the list alongside:
A Gagyll of women
A Chyrme of fynches
A Swarme of bees
A Exaltacion of larkes
A disce[n]cion of wodewalis
And so on. The short pamphlet was possibly printed twice by William Caxton and then reprinted by Wynkyn de Worde in 1495, 1499 and 1500. However, the editions by Wynkyn de Worde did not contain the reference to bees, having cut down the list of correct terminology to a smaller length. According to Curt F. Buhler the poem appears to have been popular for a short time with several manuscript versions also surviving.
Curt F. Buhler, 'Lydgate's Horse, Sheep and Goose and Huntington MS HM 144', Modern Language Notes, 55:8 (1940), pp. 563-569.
The art of knowing one-self (1695)
For around ninety years the Edict of Nantes had protected the rights of Huguenots in France, protecting them from persecution and promoting civil unity. In 1685 that all ended when the edict was revoked by Louis XIV, leading to an exodus of Protestants, many of whom ended up as refugees in the German principalities. Jacques Abbadie (1654-1727), himself born in France, played a crucial role in encouraging many of the Huguenot refugees to settle in Brandenburg during the 1680s, having already been summoned to lead the congregation of refugees in Berlin before the edict had been revoked.
The Art of Knowing One-self
The Art of Knowing One-self is a book about moral philosophy, providing an alternative to the views on self-love and morality purported by Jansenists and Calvinists in the seventeenth-century, which were based on a severe reading of Augustine. Abbadie described the principle of self-love in detail, looking at pleasure and happiness as aligned to Christian morality. Isaac Nakhimovsky has argued that Abbadie's moral theory was a rejection of the Augustinian claim that only divine grace could correct the corruption produced by the fall of man. Nakhimovsky stresses that Abbadie viewed self-love as an integral part of the eternal, uncorrupted soul, rather than an aberration caused by human sin.
In what he terms as epicureanism, Nakhimovsky argues that Abbadie only took up the ethical elements of what Epicurus had described before 270 BC, and not the physics. He accepted that an ideal of happiness or good should be equated with pleasure, as Epicurus had suggested, but rejected the idea that pleasure is nothing more than an arrangement of atoms 'agitated in a certain manner'. He aligned his understanding also to Descartes moral theory, which argued that a desire for happiness is the primary feature of self-love and that 'true and eternal happiness must be founded on the soul's awareness of its perfection' (Nakhimovsky, 2003, 8). Overall, Abbadie offered something different, building upon such ideas to come to his own understanding of morality that would influence theories around morality, luxury, and pleasure in the following centuries.
Indeed, in 1853, G. de Felice described Abbadie's book as 'full of judicious observations, and shows that the author had profoundly meditated upon the relations of the human conscience to the duties of the Gospel' (Felice, 1853, 386). In 1992, Ruth Whelan went further, by describing Abbadie as 'the father of Christian apologetics in the eighteenth century' (Whelan, 1992, 32), although she does not refer directly to The Art of Knowing One-self but rather to Abbadie's religious treatises. In this, Whelan is referring to Abbadie's ideas about deism, or, in other words, his belief in a god that does not intervene, but could be known through understanding of natural laws and knowledge; a knowledge that is both acquired and innate. Abbadie argues for a connection between 'natural revelation and natural religion and morality' (Whelan, 1992, 34-5), providing a front of religious debate and discussion in the emergent process of Enlightenment.
Pride, Pleasure and the Honey Bee
The last portion of The Art of Knowing One-self deals specifically with pride; dividing it into five branches: love of esteem, presumptuousness, vanity, ambition and arrogance. It is in this section that the single reference to the Honey Bee is made.
This appears in a section on pleasure obtained by 'vain-glory'. Abbadie argues that 'any man in the World would openly praise himself, if he dar'd be so bold' but does not as he is fearful of 'a breach of Modesty' and instead uses 'Cunning and Artifice in displaying his Merit to the Eyes of Mankind, so as not to attract the Reproach of too great Vanity'. The claim that Abbadie makes is that we are all vain in our own way, that we often disparage others, or make an accusation of fault, as to show ourselves as exempt and better: "As for my part, tho' I have very great Defects, yet may I boast that I have not This", as Abbadie quotes as an example of a kind of 'dull and unpolitick Self-love'.
He goes on to note that pride can therefore bring pleasure, as can hatred, but neither lasts. The Pleasure of conversation is not 'innocent' as 'indifferent things are tedious to us' but those things that relate to our own pride, hatred, impiety, ambition, or some other passion, 'excite'. Thoughts also bring pleasure as 'our Heart, being prepossess'd with certain Passions, can't enjoy it self, but when it thinks upon certain Objects; and therefore suspends all our other Thoughts and Reflections'. The pleasure of a Lover who forgets all things but the object of his love is given as a prime example. As is dedication to God, 'for indeed these proceed merely from the too great Pleasure, which the Ideas of temporal things excite in our Minds'
The essential point that Abbadie makes is that pleasure is in all things, even where we would prefer to pretend that it is not. It is, as he suggests, that:
The Bee metaphor is used not only to suggest that pleasure, like flowers, can be found in abundance, but also that the Bees can often find them 'in foul and Moorish places'. This extension of the metaphor is to suggest that pleasure is often found in bad places; the excitement of an affair, the risk of life, delighting in 'lamenting the death of illustrious persons' and even, perversely, in prolonging our own sorrow.
G. de Felice, History of the Protestants of France from the Commencement of the Reformation to the present time, trans. By Philip Edward Barnes (London, 1853).
Isaac Nakhimovsky, 'The Enlightened Epicureanism of Jacques Abbadie: L'Art de se connoȋtre soi-mȇme and the morality of self-interest', History of European Ideas, 29 (2003), 1-14.
Ruth Whelan, 'Abbadie, Jacques [James] (bap. 1654?, d. 1727)', ODNB (Oxford, 2004).
Ruth Whelan, 'From Christian Apologetics to Enlightened Deism: The Case of Jacques Abbadie (1656-1727)', The Modern Language Review, 87:1 (Jan., 1992), 32-40.
The Prologue of this Revelation (1483)
Unusually the 'prologue of this revelation' is an early Belgian publication of an English text. During the fifteenth- and sixteenth-centuries few texts were published in English abroad unless they were produced by the efforts of an Englishman. This is an exception.
The text contains a first-hand account of a near-death experience recorded by Adam of Eynsham at a monastery in Oxfordshire in 1196. Originally Adam wrote the account of Brother Edmund's experiences in Latin.
This edition is an anonymous translation into Middle English, probably produced some time after 1470 and then printed abroad by William de Machlinia in 1483. If William hoped for strong sales he was most likely disappointed. The after-world vision of Brother Edmund did not gain much traction as a popular account, unlike earlier visions such as Drichtelm, Fursa, and Tundale. It had, by this time, however, found its way into historical chronicles by Roger of Wendover and Matthew Paris (amongst others).
In a 2012 thesis from the University of Exeter, Christopher Wilson analyses the vision text describing its contents as beginning with 'a confusing succession of events' at the monastery at Eynsham, which included Edmund's long illness, a confession, and delusions. When Edmund's soul is taken from its body he recounts three areas of purgatory punishments in which he encounters a rector who had allowed his brothers to turn to sodomy, a wife who is punished for a harsh tongue, and two knights who had broken their crusading vow. He then visits a place of rest in which souls are granted repeated visions of Christ's passion. Upon recovering Edmund admits that he was denied the sight of God until his real death.
In general, references to bees and honey are marginal in this text. Indeed, there is only one of each. In chapter 7, Edmund decides to break his fast by requesting some bread and 'a little left-over honey'. This provides the modern reader with an idea of simple food that could be consumed in a monastery. The suggestion seems to be that honey is available, but perhaps not in huge quantities.
Meanwhile, in Chapter 12, we are presented with the vivid image of purgatory in which the number of souls is described as alike to a 'swarm full of bees'. As recounted in the 1483 publication:
To seyde and bothe the sydys of the hylle the whiche had in hem that horabulle fyre and coold was so full of sowlys as hynes swarmyn ful of bees. To the whyche sowlys thys was a comynne and a generalle tormente that nowe they were drownde in the forseyde ponde and fro thens takyn uppe and caste in to fiere.
The modern English translation of this passage reads that 'the hillside whose ground expelled such horrible flames and the opposing hillside that was so icy cold, these were as full of souls as a hive is of bees; and it seemed to be a common and general torment that each soul was drowned in the lake and then taken up and cast into the fire and at least carried high into the air by the huge flames'.
The image of a swarm to describe purgatory would appear to be a popular one, having similarly appeared in Chaucer's Canterbury Tales (published by William Caxton in 1477), whilst the use of honey as a source of food for recovery provides a possible insight into monastic food provision in the medieval period and certainly connects it to the works of physic and herbals which often referred to honey as useful for ailments.
Christopher Thomas John Wilson, The dissemination of visions of the otherworld in England and northern France c. 1150-c.1321, Ph.D. Thesis University of Exeter (2012)
John Fitzherbert – The Book of Husbandry (1523)
The Book of Husbandry
In 1523 either John Fitzherbert (d. 1531) or his younger brother, Sir Anthony Fitzherbert (1470-1538) published a short manual on husbandry, that was simply called The Book Of Husbandry. This little book contained advice on various agricultural processes, such as:
Using ploughs;
growing fruit, seeds, and vegetables;
following rotations;
sowing oats;
looking after sheep, horses, and cattle;
advice on carrying wood and managing trees.
It also contained advice for the wife of the husbandman to take heed and, additionally, a short chapter on managing bees.
This book might well be the first to offer guidance on beekeeping printed in the English language, beating Thomas Hill's treatise on bees (the first full 'how-to' manual on beekeeping printed in England) by some forty years. In their study of 2000, on beekeeping in English gardens, Penelope Walker and Eva Crane certainly believed this to be the case, although no evidence is presented as confirmation by them. In print, there is certainly no other book entitled for either bees or husbandry, which immediately stands out as a likely alternative.
Bees in The Book of Husbandry
It is quite surprising just how much Fitzherbert fitted into a section of only 528 words. He started the account with advice on the placing of a hive in a garden or orchard; he then followed up with advice on how to deal with swarms. The account ends with advice on how to protect the hive from pests such as mice, wasps, and other bees. One final sentence identifies the drone and the fact that it is 'greater' than other bees as it does not work, but eats all the honey. In later editions, Fitzherbert (or perhaps his printer?) adds the advice that such drones should be killed for the good of the hive.
The inclusion of a chapter on beekeeping in this book of husbandry is interesting. It would appear to be one of the few topics that Fitzherbert himself is not highly knowledgeable about. His other advice is detailed, exacting, and obviously based on local knowledge and practices. The chapter on Bees could easily have been extracted out of a classical agricultural book (Walker and Crane have noted the similarity to Palladius) or perhaps borrowed from someone else with more knowledge (a beekeeper perhaps?). At the least, the suggestion that June and July are the months when a swarm is most likely is true of the English situation.
At the very least we can say something about why the chapter was included in the book. The inclusion of beekeeping is explained by Fitzherbert in the proceeding chapter on swine. Fitzherbert suggests that a landlord could gain the most profit, for minimal space and cost if he kept sheep, swine, and bees. Yet he neglects to say anything about the products of the hive that might achieve that profit: the honey, the beeswax, or propolis. On these subjects Fitzherbert is silent.
Who wrote the book?
There is some doubt over the authorship of The Book of Husbandry first published in 1523 and republished many times after. In the nineteenth and early twentieth centuries, several arguments were made, some favouring John Fitzherbert, and some favouring his younger sibling, Sir Anthony Fitzherbert. The book itself only describes the author as 'Master Fitzherbarde'. Mid-sixteenth-century writers assumed that the reference was to Sir Anthony, who was known to have written various legal writings, including Magnum abbreviamentum (1514-1517), La novel natura brevium (1534), and The New Boke of Justices of the Peas (1538).
Sir Anthony (c. 1470-1538) was the youngest son of Ralph Fitzherbert of Norbury and became a well-regarded judge in his time. However, around the turn of the nineteenth century, both Reginald H.C. Fitzherbert and Edwin F. Gay opted for John, the older brother, as the correct author. The original Oxford Dictionary of National Biography (ODNB) entry, by J.M. Rigg, still argued for Sir Anthony, as did an editor of the work in 1882, Walter W. Skeat, but the more recent version of ODNB, by J. H. Baker, states categorically that John is correct.
Less is known about John. He is Sir Anthony's older brother and appears to have inherited most of the lands from their father. According to evidence supplied by Reginald H.C. Fitzherbert, John inherited these lands around 1483, having married three years earlier. It is therefore quite possible that he could have written both the Book of Husbandry and the Book of Surveying.
Essentially, Fitzherbert's goal was to improve English agricultural practice. Whether he succeeded in any way with this goal is difficult to judge, but the book itself appears to have been popular, reaching eleven editions between 1525 and 1598. It is therefore possible that his beekeeping advice was read and used, although this was a minor part of the whole.
Reginald H.C. Fitzherbert, 'The Authorship of the "Book of Husbandry' and the 'Book of Surveying', The English Historical Review, 12:46 (1897), pp. 225-236.
Edwin F. Gay, 'The Authorship of the Book of Husbandry and the Book of Surveying', The Quarterly Journal of Economics, 18:4 (August 1904), pp. 588-593.
E. Fussell, The Old English Farming Books from Fitzherbert to Tull, 1523-1730 (London, 1947), pp. 5-6.
Penelope Walker and Eva Crane, 'The History of Beekeeping in English Gardens', Garden History, 28:2 (Winter 2000), pp. 231-261.
M. Rigg, 'Fitzherbert, Sir Anthony (1470-1538)', ODNB [Archive Version]. DOI: 10.1093/odnb/9780192683120.013.9602
J.H. Baker, 'Fitzherbert, Sir Anthony (c. 1470-1538)', ODNB, 23 September 2004. DOI: 10.1093/ref:odnb/9602.


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Mike Hammel
A lifelong Sacramento Kings fan who has celebrated the really good times and suffered through the really bad ones. He has followed the league for close to thirty years and has enjoyed watching the on-court evolution of the game as well as the sophistication in off-court team management.
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In order to compete in today's NBA, most of the contending teams feature two or three star level talents. For more...

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Weichs é um município da Alemanha, situado no distrito de Dachau, no estado da Baviera. Tem  de área, e sua população em 2019 foi estimada em 3.527 habitantes.

Municípios da Baviera

redpajama_set_name: RedPajamaWikipedia


Q: Television may be more complex than what most people realize, but it seems rarely to attempt to "challenge" or "disturb" its audience, as you've written me you wish to. Is it that sense of challenge and pain that makes your work more "serious" than most television shows?
I had a teacher I liked who used to say good fiction's job was to comfort the disturbed and disturb the comfortable. I guess a big part of serious fiction's purpose is to give the reader, who like all of us is sort of marooned in her own skull, to give her imaginative access to other selves. Since an ineluctable part of being a human self is suffering, part of what we humans come to art for is an experience of suffering, necessarily a vicarious experience, more like a sort of "generalization" of suffering. Does this make sense? We all suffer alone in the real world; true empathy's impossible. But if a piece of fiction can allow us imaginatively to identify with a character's pain, we might then also more easily conceive of others identifying with our own. This is nourishing, redemptive; we become less alone inside. It might just be that simple. But now realize that tv and popular film and most kinds of "low" art—which just means art whose primary aim is to make money—is lucrative precisely because it recognizes that audiences prefer 100 percent pleasure to the reality that tends to be 49 percent pleasure and 51 percent pain. Whereas "serious" art, which is not primarily about getting money out of you, is more apt to make you uncomfortable, or to force you to work hard to access its pleasures, the same way that in real life true pleasure is usually a by-product of hard work and discomfort. So it's hard for an art audience, especially a young one that's been raised to expect art to be 100 percent pleasurable and to make that pleasure effortless, to read and appreciate serious fiction. That's not good. The problem isn't that today's readership is "dumb," I don't think. Just that tv and the commercial-art culture's trained it to be sort of lazy and childish in its expectations. But it makes trying to engage today's readers both imaginatively and intellectually unprecedentedly hard.


text:
Rates from €1,250 per night
Sleeps up to 9 people
Get in touch with The Modernist to check availability or ask any questions you might have.
DAILY HOUSEKEEPING + BASIC WELCOME HAMPER
Get in touch with Casa Marítima to check availability or ask any questions you might have.
No. Adults
Dates Low Season: min. 5 nights / High Season: min. 7 nights
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Six minimalist apartment-like suites with a wonderful 1970s vibe, set in a genuine modernist building in the heart of Faro.
Historic Centre
Design Pieces
Opened in 2021, the Modernist features six apartment-like suites with a private balcony, a shared garden patio and a rooftop.
The apartments are set in a modernist building from the early 1970s, by architect Joel Santana. After being abandoned for many years, each suite and outdoor space has been brought back to life by Portuguese award-winning architecture studio Par with full respect for the original Mid-Century Modern Design; from the original materials used (stone, wood, windows) to specific finishing details like door handles, lighting, curtains and artisan wood furniture.
The rooftop with an outdoor shower is an ideal place to sunbathe and enjoy panoramic views of the Ria Formosa Natural Park.
It's a unique place to stay in Faro.
Everything here has been imagined, designed and manufactured in Portugal and is mostly less than 100km from site.
In each apartment, there's a great little book with local tips curated by the owners Chris and Angie.
Discover Faro's architectural gems with the self-walking tour created for the guests.
The fast wifi makes this a perfectly suitable place to work from.
Bear in Mind
The apartments are not serviced, which means no daily cleaning or breakfast.
Faro's centre can be lively, so expect some happy noise from the street.
There's no TV in the apartments.
The modernist aesthetic is not for everyone but we love it, it makes for a unique experience.
A Conversation with Angelique and Christophe about The Modernist
"We realised Faro was a modernist architecture gem, and our building was a part of it."
– ANGELIQUE DE OLIVEIRA, CO-OWNER OF THE MODERNIST
How did you find this building, and what drew you to it?
Christophe: As humans, we often forget one of the most precious tools we have been gifted: our instinct.
When we were hunters, our instinct was our primary tool to find food, a place to sleep, or a partner. Today, we still have this tool that we believe we must keep using when looking for a place to sleep, or even better, to invest.
Four years ago, we thought this was the moment to invest in the Algarve. We already had experience in real estate and hospitality in Paris and were looking to diversify our activity. We wanted a convenient city, close to nature, with great infrastructure and culture.
We concluded Faro was the appropriate city in the Algarve to launch this business. Then we just walked and walked in the centre and followed our hunting instinct. That, in turn, sent us to this abandoned building. Our heartbeats confirmed this was the one!
When investing, we wonder how it will make us feel once we own it. Would we feel good and fulfilled or stressed? We felt good and confident, so this was the one. This questioning always helped us in all our investments.
There's a garden at the back of The Modernist.
When you hired architecture studio PAr, did you already know then that you wanted the whole concept to follow the building's original Mid-century modern design?
Angelique: When we chose to work with PAr, the only thing we knew was that they were the studio we wanted to work with. We were impressed by their project, Casa Modesta, plus the international recognition they won. We aligned with their professionalism and attention to detail.
We knew PAr and ourselves would be the perfect team. We wanted them to express their expertise, and for us to express our passion for design and architecture.
Prior to that, we already had a passion for Mid-century modern. The project was still going to take a while, so we had time to travel. We went to Palm Springs and Phoenix Arizona, where we visited the Taliesin West centre of American Mid-Century, by the genius Frank Lloyd Wright.
Once we came back to Faro, we faced the city with new outsider eyes. We realised Faro was a modernist architecture gem, and our building was a part of it. We figured out that our mission was to democratise at our small level Modernism and promote it to architecture lovers across Portugal and Europe.
How long did the renovation process take, and what were the most significant challenges?
Angelique: The renovation took three years. The most challenging part was dealing with the administration process. The time we had to wait for all the licensing was huge. From the authorisation to start the project to getting the approval to change details of the construction plan, or the four months lost to get electricity from the provider. That was quite frustrating.
But thankfully, we tend to forget that, and once the result is here, your memory just keeps the best bits of the journey. Maybe somehow you have to be a little crazy to get involved in such an adventure, but it is worth it in the end.
"All our furniture is bespoke and exclusively designed for The Modernist. You won't find it in a retail store!"
– CHRISTOPHE DE OLIVEIRA, CO-OWNER OF THE MODERNIST
Every single part of this project has been designed and manufactured in Portugal and is mostly less than 100km from The Modernist. Can you tell us a bit about it?
Christophe: When we decided on the Modernist concept, we made a strict commitment to only build with local materials. This was the very same commitment that Modernist architects had at the time. And believe us, today, that's probably the hardest thing to do.
Buying made in China, or made in Sweden is easier, faster and cheaper than made in the Algarve. But when you are involved in a project, you have to stay committed and avoid easy or lazy last-minute decisions. We are grateful to have worked with PAr studio who helped us stick to this discipline.
We also had another commitment that has so much sense nowadays - the footprint of the construction process. We wanted to have the smallest CO2 footprint with our project. So sourcing locally was the only way to achieve it.
That's how we sourced local materials and collaborated with local artisans. From the stone, which is from São Brás de Alportel in the Algarve, to the wood or iron. Everything was local.
The furniture was made for us by a Portuguese family manufacturer. All our furniture is bespoke and exclusively designed for The Modernist. You won't find it in a retail store!
Local materials and bespoke furniture made in Portugal.
Faro had one of the largest concentrations of modern architecture in Southern Europe. You've designed a self-walking tour to help guests discover Faro's architecture, which is also an alternative way to discover the city. How did that awesome idea come about?
Christophe: The first time we did an architecture walking tour was in the Miami Art Deco district. It was such an amazing experience for us because we discovered the area of South Beach Miami, not as tourists, but as architecture lovers. That provided a totally different experience.
The tour allowed us to discover some of the most iconic buildings of the city, with details about the client, architect, the history of the houses and the families who lived there. And sometimes some incredible stories such as Versace's romances or Al Capone's criminal activities.
That 'architecture walking tour' seed stayed with us, and as we walked along the streets of Faro, we figured out how rich the city's architectural heritage is. That's how we ended up having the idea of offering our guests a tool for visiting Faro, not through the traditional tourist attractions but through its architecture.
This is a unique way to explore the city as a local and from a cultural perspective.
How did you get into the hospitality industry, and as a couple, how do you share your roles?
Angelique: We entered the hospitality industry by accident or by chance! In 2006, we visited an abandoned bakery in Paris, located in a very tranquil street near the Eiffel Tower. We fell in love with this place and decided to buy it. Then we figured out that the shop's street was not busy enough for any kind of business, except a business that required quietness.
That is how we converted the bakery into a loft for travellers. That loft was the first one of our Parisian collection named "Artisan Lofts Paris". The spaces we acquired used to be bakeries, artist studios, fashion studios or start-up garages. Each loft has been upcycled into a designer place with hotel comfort.
As a couple, we developed that passion of seeing beauty in abandoned places and in converting artsy places with charm and history, into hospitality experiences. For us working as a couple made sense since we both have an artistic sensibility, and we like to challenge each other in the creative process. In daily business, we have a clear separation in our tasks. I'm in charge of marketing and sales (said Angelique), while Chris is in charge of finance and operations.
"Our favourite objects at The Modernist are the door handles (...) a handle is the starting and final point of your stay."
What are your favourite objects at The Modernist, and where did you get them?
Angelique: Our favourite objects at The Modernist are the door handles! We love handles since they are the first object you touch when you enter a place. You can neglect them but if you create a special handle, it will make your experience special because a handle is the starting and final point of your stay.
During the demolition works, we found the original 1977 handle that was in an old door, it had been designed by Modernist Architect Joel Santana. We saw it among the engravings, and we rescued it at the last minute. Now every door of The Modernist has that same special handle, which connects you for the first time with our unit.
The door handles are Angelique and Christophe's favourite objects at The Modernist, they are the starting and final point of your stay.
You also offer guests a list of local tips, which we very much enjoyed. Describe your perfect day off in Faro.
Angelique: A perfect day in Faro starts with a sunny morning with this incredible light we are fortunate to have here. Faro has 300 days of sunshine per year!
Start with coffee and breakfast at our favourite café downstairs called Chelsea. Then using our Architecture Walking tour, take around an hour to explore either the Art Deco district of Faro or the Modernist area. With this fantastic sun and light, you will take the best pictures ever of architecture or of your partner against the architectural backdrop.
End the morning in the market, where you can enjoy a great lunch at Palhaçinho, a kind of market bistro. My favourite dish here is the Algarvian style tuna with potatoes, served with a traditional bell pepper salad.
Then you can walk to the marina and take a taxi boat ride - my favourite company is Animaris - across the Ria Formosa which is one of Portugal's largest sea natural reserves. Do some bird watching and listen to the sea scientist explaining the ecosystem. Your taxi boat can drop you at one of those deserted beaches of Ria Formosa where you can spend the rest of your afternoon.
End your day with a cocktail at Lab Terrace bar, enjoying the sunset and having dinner at the Checkin restaurant from Chef Leonel Pereira. He cooks like no one else the specialities of the Ria Formosa, such as seafood, fish and salicornia, in a chic bistro style.
Afterwards, enjoy a restful night back in your Modernist's comfortable bed.
"Faro has 300 days of sunshine per year!"
What is your favourite hotel in the world?
Christophe: Our favourite hotel in the world is The Biltmore in Phoenix, Arizona (US), built by architect Frank Lloyd Wright in 1929. The resort has 700 rooms, a pool, some cottages, several ballrooms and a bar.
It's a real piece of art with a distinct particularity; it has been made with 250,000 similar blocks called the Biltmore block designed by Wright that represents the geometric pattern of a freshly cut palm tree.
That pattern is in the construction blocks, the bar decoration details, the light system, the skylights, everywhere—a demonstration of architecture. But best of all, the hotel was built in only nine months. 700 rooms of an artistic hotel in nine months, who can do better?
Angelique and Christophe's favourite hotel is The Biltmore in Phoenix built by architect Frank Lloyd Wright in 1929.
Thank you Ange and Chris!
The Modernist apartments are located in the heart of Faro, the capital of the Algarve.
Faro is known as the gateway to the Algarve, but it's also a multi-generational charming city with one of the largest concentrations of modern architecture in South Europe.
Faro makes for a surprisingly interesting city break, as well as a great base to discover the region.
In each apartment, you will find a little book of local tips curated by the owners Chris and Ange. It has lots of awesome recommendations for restaurants, bars, and things to do in and around Faro, not to mention an awesome modernist architecture tour for you to follow.
If you're feeling too relaxed to make breakfast, facing the apartments you have Chelsea Coffee and Brunch, a bistro with outdoor seating serving various egg dishes, pancakes, tapiocas (Brazilian crepes), pastries and speciality coffee.
Read on to discover more local tips.
Watch the video above which we did with Condé Nast Traveller. In it we talk about Foz do Douro - the seaside neighbourhood in Porto where we grew up. check out the Full article on their website.
Wander around Faro and discover its architectural gems with The Modernist's self-walking tour.
Photography credit: @themodernistfaro
For dinner, we had a lovely time at one of The Modernist's recommendations. A Venda is a restaurant run by friendly locals, serving Portuguese tapas-like dishes. The menu includes a decent and tasty selection of vegetarian options - unusual for Portugal.
Praia de Faro (Faro's beach), also known to locals as Ilha de Faro (Faro's Island), is a 15-minute drive from The Modernist. Here you'll find some restaurants, bars and a couple of surf schools.
Visit Olhão, a quirky and picturesque fishing town near Faro. The old town is a maze of charming cobblestone streets, interesting doors and crazy Portuguese tiles.
Olhão has an authentic local vibe and great little places to eat. One of our favourites is Chá Chá Chá, which is tucked away in a cute secret square.
Hop on a ferry or taxi boat in Olhão to visit some of the local islands, including Culatra, Farol and Armona.
When you arrive at Ilha da Culatra, to reach the beach you have to walk through a tiny village. The island is permanently inhabited by around 1,000 people, most of whom live off fishing and tourism. There are a few restaurants and even a church and a primary school.
The walk to the beach is a gem in itself. After you've walked through the village there's a boardwalk that will take you to Praia da Culatra (Culatra Beach). The whole walk from the boat until you reach the beach takes around 15 minutes.
We love Cacela Velha (a 45-minute drive from Faro), a quaint village with traditional Algarvian white houses with colourful windows.
Cacela Velha's beaches - Praia de Cacela Velha and Praia da Fábrica - are among some of the best in the region. Cross by foot when the tide is low or hop on a taxi boat when the tide is high.
For seriously good seafood in the centre of Cacela Velha we recommend Casa da Igreja (The Church's Home). They open at 4.30pm but you will probably want to get there for 4pm to be one of the first to queue.
VIEW Booking Options
Rua Dom Francisco Gomes 27
8000-236 Faro
The closest airport is Faro airport. From there you can take a taxi (Uber, Bolt etc. widely available) or hire a car. Hiring a car is highly recommended to explore the region and the beautiful beaches and villages nearby.
Faro (FAO) – 7km
Lisbon (LIS) – 275km
Porto (OPO) – 567m
BY TRAIN
Faro Train Station is a 10-minute drive from The Modernist.
© Photos by The Modernist.
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A stunning six-bedroom boutique hotel in a genuine Algarve countryside setting.
Companhia das Culturas
Quirky eco boutique hotel with beautiful vintage decor in Castro Marim, in the Eastern Algarve.
A Hospedaria
A small rural hotel near Tavira and Cacela Velha comprising five suites with private patios and a small shared pool.
Flattered to be in Algarve
Architect-designed holiday apartments facing the centuries-old Tavira saltpans.
Casa Céu
A four-bedroom guesthouse located in Olhão, a quirky and authentic fishing town near Faro.
The Lemon Lodge
An off-grid farmstead tucked away between the hills of Monchique and the wild beaches of Costa Vicentina, in the rural Algarve.
Cabin & Hut
Conversas de Alpendre
A family-run boutique farmhouse, set in a special rural setting within the Ria Formosa Natural Park in the Eastern Algarve.
More Hotels in the Algarve
Show PricesSend an Enquiry
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Repping Instagram Photographers – Tinker Street Mobile
By tbs
In Agents, Social Media
Paul Octavious for
by T. Brittain Stone
We've all heard about Instagrammers with huge followings that can bill $5000 a day for clients like American Airlines, Best Buy or the Israel Ministry of Tourism. And when you read interviews with said IGers, they are pretty gushy about "sharing their experiences" or "creating a visual diary" while doing some terrific product placement. And I for one think that's great.
But what does that look like on the business end of these deals, and how does an agency manage the creative process of these campaigns? Below, artists rep Jesse Miller will give you a glimpse of this burgeoning (big) business. His agency Tinker Street is the first to have created a "mobile" division, and he now has built a behemoth roster of many of Instagram's most followed talent.
And so perhaps one would imagine that the cozy community fabric is bound to become a cynical business with reps poaching talent, agencies demanding metrics for pricing out ROI, "like farming" and unfathomable copyright issues. But talking to Jesse, is well, rather uplifting, and the organic way that his business has developed is a testament to the fuzzy notion that friends can collaborate and be creatively successful.
T. Brittain Stone: How did you guys start the mobile division and when did it all happen?
Jesse Miller: I started Tinker street about 6 years ago, because I wanted to get back to my roots. I started as a filmmaker and an artist. Tinker Street was a way to get back to that creative center. It began as a small intimate collective of 6 friends, and it was just 6 folks who were doing photo art shows together and then bringing that whole vibe–which I saw the need for it in advertising. We did well with some youth culture work initially.
We expanded the main roster to be more inclusive of some of the things that I like and am interested in with healthcare and technology.
After a little while we noticed that brands were encroaching on the Instagram community, so it was pretty seamless for us, in the regards that our agency is all about friendship and good creative. Michael O'Neal {ed: 571243 followers} was such a big part of that community and so are some of the other folks on the main roster.
It's that feeling of friendship and camaraderie, and also working together out in the field and supporting each other. Ultimately our goal is to provide across the board content, and have a bunch of people out there in the field.
TBS: I hate the word collective, but there is a little bit of that aspect.
JM: There is. But I like the word in the old sense of the collective like the Man Ray sort of collective… true artists' collectives. It was inspired by that spirit and it's always stuck [with me] along the way.
TBS: with a lot of technology thrown in.
JM: Yeah it's a hybrid of art, ad collective.
TBS: You were always dialed into the ad world, so you had a lot of contacts there.
JM: Yeah, I've been doing it for a long time. (Corbis, Marge Casey, individual photogs). I started way back as a PA for film & tv commercials, while myself studying and making films, shooting stills, and doing street art—so starting my own agency was a to go full circle and get back to the creative that was dear to my heart and try to bring that vision to advertising.
One of the things we pride ourselves on and work really hard at is to make sure that there's a balance. We're doing big brands, but we're also doing Save the Children, we work with UNICEF, [and] we're doing a lot of music collaborations. A start up label and we love their music? Sure we'll do it for cheap. I keep it balanced that way, and really push folks too to keep working on personal projects.
TBS: And someone's getting paid at the end of the day
JM: I think that the brands pick up on that, when there's good creative energy, they're attracted to that. [If] that turns then making some money so you can put it back and you can take some time off to do some more personal projects? Yeah it's great. With Instagram, we look at it like it's another tool in our toolbox,
TBS: do you have competition now, people representing Instagrammers, possibly trying to poach people from you?
JM: Not so much, not what I've seen. From what I've been exposed to everybody's really collaborative. Mobile Media Lab, they're great. They bring projects to us.
We just worked with Laundry Service… and Niche. Everyone's been really supportive of each other.
TBS: You have 50 "mobile" artists Is there advantage to scale for your business
JM: I think that in general, the core group, everyone on there knows each other so it like a really big family of friends. So it starts there. Secondly, its happens regionally. That's the interesting thing about Instagram. The few things that maybe differ a little and harken back to the editorial days,[is that] assignments can be relatively sort of fast and quick, and regional. And then others are bigger projects and location is not such a big factor.
TBS: Like travel photography…
JM: The (Instagram) community really values travel photos, and when you see the level of engagement on the travel pictures alone… they a love good landscape, that's for sure. I think that it was pretty natural for tourism board to gravitate there, and they were some of the first folks that we saw encroach on that space.
hirozzzz for Alberta 1×1
TBS: How do you refer to your Instagram group? Do you consider them artists, what's the nomenclature?
JM: I just say photographers really, or artists. Photographers, yes, but a lot of them are working in different mediums. "Content Providers" feels a little technical and stiff, but that's kinda what we are, and at the end of that day that's what we're going for. But we're sort of "eclectic" content.
TBS: All this sounds much more organic and I was preparing a lot of questions that were a little more cynical… but it all sounds so pleasant..
JM: I've been at it for a long time, At this stage of my career, it's about refinement and being with the people I want to be with, and enjoying life, because advertising can get really stiff as we all know.
TBS: How else do you onboard photographers. How do they approach you?
JM: It's all of the above. People send me promos, I get a lot of emails from new photographers, both traditional and mobile. I see a lot of people who have seen us on Instagram. Or photographers who know the original roster. So it's a mix and its pretty constant. We get a lot of taps. I really try to get back to everybody too even if I have to stay up to the crack of dawn.
TBS: Thats noble of you. Is Instagram for business gaining wide acceptance in terms of the agency world. Are they already aboard or still getting aboard?
JM: There is a swath, a range of people who are involved. There's stand alone digital boutiques; there's brands coming to us directly, and then there's agencies getting involved. It really depends on the agency, because some of them have in house boutiques that are very savvy and know what they're doing, and other ones are asking a lot of questions. It doesn't matter who it is thats approaching us, the thing that recurs in a good campaign is really well thought out creative, a good solid creative brief… the ability to collaborate, to listen and ask good questions, and for us to do the same.
The Mercedes campaign (http://www.emergeinteractive.com/work/detail/cla-instagram-campaign) is a really good example of that. Razorfish in NY did an amazing job with that campaign. They prepared very well; it was very early on; it was a very new frontier and they asked a lot of good questions to the people who were in play in that community. It was a great collaboration.
Paul Octavious, Mercedes
Michael O'Neal
TBS: What do agencies consider when selecting a photographer. Do they value the followers most? How does that chemistry come about?
JM: For our group, the thing that we have to offer is that we are a group of friends and we are familiar. Looking back on the campaigns in the 9 month existence of that division, a good majority of the campaigns are multiple folks on the campaign. It lends itself very well to that community. They know each other, they're following each other.
TBS: It's like a road trip
JM: Right, because who wouldn't want to go on a road trip with their friends? When we send 5 to 7 people out, they all know each other and hang out even when they're not working.
TBS: So when you get a creative brief, you can assemble a little team….
JM: Yeah it does work that way, where they come to us with some rough creative choices, and a few other (Instagrammers), we'll just shuffle it around where we know who fits best together and who knows each other.
TBS: it all sounds too good to be true.
JM: For me its highly enjoyable. At the end of the day, we feel super fortunate. It's such an amazing time — this moment in history for advertising and for media — to be involved in this. It's amazing to watch. For me personally too, to get the privilege to be a sort of conduit between traditional media where I spent a lot of time with old school way of doing things, and this new guard coming in with all the social and what these young kids are doing. Pretty amazing to be in the middle of it.
TBS:. Do you analyze metrics for your Instagrammers' followings? Do your clients have numbers they're trying to reach?
JM: People talk about that. We try not to get too involved in analytics, because at the end of the day the thing's that is going to be consistent is good creative, smart creative, and something that has some depth to it. So that's where we're coming from.
TBS: How many on your mobile division are professional photographers?
JM: About half of our main (professional) roster is on Mobile. What's very interesting that we've seen lately, is photographers who don't necessarily have a high follower count on Instagram, have been getting hired for social media projects. So for example. Matthew Reamer shoots for Converse Rubber Tracks and SXSW, and a lot of what he's doing is going to their social channels. So it doesn't necessarily matter all the time when the projects come in whether somebody has a lot of followers or not.
We have a client right now who wants both. Based on the subject of the activity of what's happening, they want somebody based on their expertise on that subject AND they want some high count followers. So it's a combo. That guy who has the expertise is on the main roster. So you really see the old and new media, it's really morphing. If we're going out and shooting on a tandem broadcast shoot, me might have one person doing BTS video and another person shooting for Instagram. Some people just shooting for the client feed and some doing to post to their own feed so they can leverage their followers.
Its really become a hybrid of all kinds of platforms and resources. I really like it a lot. I like the idea of people collaborating that way instead of it just being strictly, oh this a film set, oh this is a tv set, this is a photo shoot cool. It brings a lot of different personalities together.
And I might refer ( a client) to the mobile roster and then send then to that person's site, because a lot of the people who are exclusively on mobile are also shooting DSLR. So they're crossing over to what traditional media people would be doing. I'm pitching them for traditional projects as well. In that sense it's kind of one big agency.
It's opening up more. But definitely the people on the main roster who don't have large followings. They're not as much getting social projects, unless its just content for the client's feed.
TBS: That following has got to be a very powerful slice of your portfolio. I would think that advertisers would certainly want that. Can I ask about negotiating tactics?
JM: The interesting thing to know about the fee structure is that its structured very similarly to traditional media, in the sense that we factor in everything, the usage, and the usage terms, the scope of the project, the timeline, what the social media asks are, who the photographer is, and what level they're at, scope of budget… All those factors contribute to the project, and we take it project by project.
TBS: How does the copyright part work on a campaign like Barbour by Finn Beales (http://tinker-street.com/barbour)?
Finn Beales
Barbour Heroes
JM: Again its a lot like traditional media in that we're licensing the images. As artists and photographers, and me being an artist originally, I'm always fighting for the photographers rights. So we really don't do work for hire, well It's a very rare occasion that we do work for hire. It's all based on licensing.
TBS: Are there other agents building mobile divisions? Or just managing their rosters' social feeds?
JM: It's hard to say. I'm sure there'll be more popping up as we move along. I think everything is swinging in the direction of digital and social. At the end of the day, like you know cycles in history, as much as everything changes, some things always stay the same, and the thing for us that will stay the same is good creative. Good thoughtful creative. That's what we strive for.
TBS: Do you constantly have to worry about the next thing? What are the things you're thinking about strategically down the road?
JM: Coming from filmmaking as a background for, me because I'm biased, I speak to video quite a bit because its think it gonna be future terrain. I really believe in video.
But the way that I see it, and the way I talk to my folks is that you should do what you like, because if you don't like doing it, even if its valuable in a moment, because its trending, what does it matter if you're not happy? And I also think that if you're doing something you don't like, you're gonna be less attractive as a person, just the energy you put out. We'll always keep finding different ways to create cool work and do it with our friends and try and do it gracefully. I think theres a lot of possibility with advertising for the future to be less competitive and more collaborative. And for people who are in power in the new platforms to really create a new environment where it can be about collaboration and good creative. At its best, advertising can be amazing.
TBS: Pet theory. Photography itself no longer just a specialized skill, it's a life skill, that anyone, especially anyone in creative, you need this skill set. You should study photography, take a photo class.
JM: I think you've hit on something thats really interesting because if we look to the younger generation, everybody is so computer literate and device literate. Its the development of a new generation. And always there will be these generation gaps. And the people younger than us, they're learning so much so quickly. So I think in that part of their world, these devices are a big part of it. I think you're right; picture taking is becoming a very mainstream way of communicating, in general. Not just or ad work. It's even for little kids.
Its a total new generation, and it all life changes, and obviously advertising follows life and vice versa.
TBS: You need to be able to take good pictures.
JM: We strive to be kinder and gentler. There is definitely a foundation here that has to do with what I learned at traditional agencies, so that's true. for me change and growth are paramount to keeping things real. And to become fuller people. We want to continue to be involved in innovation and hopefully we'll do it gracefully.
Paul Octavious for iheartradio
Emily Blincoe for Warby Parker
Withhearts for Warby Parker
Lucio Bracamontes for Burger King
Daniel Seung Lee for Burger King
Paul Octavious for Hermes
Finn Beales for Barbour
Michael O'Neal for Vogue
Michael O'Neal for Mercedes
This Week In Photography Books: Kris Vervaeke
The Daily Edit: Steven Simko - Hollywood Stars Promo
T. Brittain Stone
The Daily Promo – Jordan Lutes
There is no better time to grow your team than at the beginning
Hustle Is The Secret Ingredient In Professional Photography
If the photographer has a large number of followers, it's a photoshoot and media buy all in one. It's not clear from the interview if those two things are broken out and priced accordingly as part of the free structure, but it seems like they should be.
brittain stone
Yes, to clarify, indeed the following on is handled as part of a license agreement and is usually broken out. Since the following and the assignment fee are pretty closely correlated as well, the delineation may not be as concrete as a sliding scale based on numbers of followers however.
Repping Instagram Photographers – Tinker Street MobilePingback
[…] Repping Instagram Photographers – Tinker Street Mobile —A Photo Editor […]
are the photographers using real cameras or phones?
Other than the photos being shown as squares, and each photographer having a lot of followers to leverage, why is this such a unique "mobile" roster?
It seems that it's just photographers being hired to shoot for Instagram. I can appreciate the photography, but if they're shooting regular campaigns with real cameras and not phones, does mobile simply refer to a built-in audience that is paid for?


text:
Bethlehem News Report Non-violent action
Army Attacks Nonviolent Protesters In Beit Sahour
Israeli soldiers attacked on Sunday morning a nonviolent protest carried out against the army's illegal decision to allow Israeli settlers to install a settlement outpost on city land, used as a public park after the army removed its military base from the area.Local sources reported that the army fired concussion grenades at the protesters who tried to enter land that the army wants to illegally confiscate and make it part of its planned settlement.
The Israeli army evicted its 'Osh Ghrab (Crow's Nest) military base, located east of Beit Sahour, in 2006, but recently allowed Israeli settlers to return to the area under the pretext of maintaining existing structures in preparation to using them as a settlement outpost later on.
Israeli media sources reported that the current plan includes the restructuring of four buildings in the area.
The protesters carried Palestinian flags, chanting slogans against the occupation, and carried signs that read, "The land is part of the Palestinian State, the Occupation Must Leave Immediately".
Hasan Beijiyyah, member of the Popular Committee Against the Wall and Settlements in Bethlehem, stated that, should a settlement be built in the area, Bethlehem will be completely surrounded by Israeli settlements, and will completely be isolated from its surrounding Palestinian areas.
Ush Ghrab ("Crow's Nest" in Arabic) has witnessed multiple turnovers of military control over the last century. Because of its location, sandwiched between Bethlehem and Jerusalem with a 360-degree view of several Palestinian villages, the area served as a continuous military post first under the Ottomans, then the British, then the Jordanians, and over the last 40 years as an Israeli military base up until April 2006, when the army unilaterally withdrew from the post.
Immediately after the withdrawal, Israel imposed a military control order on Ush Ghrab, but recently the municipality of Beit Sahour was able to lift the order and begin community development of the area. – The Electronic Intifada
Palestinians Setup a Tent at Bush Ghrab to Protest a Planned Settlement
Sunday October 28, 2012 15:11 – by George Rishmawi – IMEMC News
Ahrar: "Israel Still Holding Captive 13 Legislators, 2 Ministers"
Israel Violates Lebanese Airspace


text:
<?php

namespace Intimisi\UserBundle\Form\Type;

use Symfony\Component\Form\AbstractType;
use Symfony\Component\Form\Extension\Core\Type\RepeatedType;
use Symfony\Component\Form\FormBuilder;

class UserType extends AbstractType {

    public function buildForm(FormBuilder $builder, array $options) {
        $builder->add('username', 'text', array(

            'required' => false,
            'trim' => true,
            'max_length' => 30,
            'attr' => array('class' => 'validate[required]', 'id' => 'req1'),
        ));
        $builder->add('email', 'email', array(
            'label' => "E-mail",
            'required' => false,
            'max_length' => 50,
            'attr' => array('class' => 'validate[required,custom[email]]', 'id' => 'req2'),
        ));
        $builder->add('plainPassword', 'repeated', array(
            'first_name' => 'password',
            'second_name' => 'confirm',
            'required' => false,
            'type' => 'password',
            'invalid_message' => 'Podane hasła nie zgadzają się.',
            'options' => array(
                'label' => 'Password',
                'attr' => array('class' => 'validate[required]', 'id' => 'req3'),
            ),
        ));
    }

    public function getDefaultOptions(array $options) {
        return array('data_class' => 'Intimisi\UserBundle\Entity\User');
    }

    public function getName() {
        return 'register_user';
    }

}


Gentle Spirit Horses is a rescue and sanctuary for horses based out of Sioux Falls, South Dakota; Adrian, MN; and Forest City, Iowa. Our mission is to provide assistance to neglected, abused and unwanted horses, and through outreach and education, promote responsible horse ownership.
Hooves & Paws Rescue of the Heartland is one of the largest No-Kill rescue and shelter for horses, donkeys, mules, dogs and puppies in Iowa and Nebraska.
IERAL is certified in equine investigation and safe equine rescue practices with the State Of Iowa. We partner with Iowa Law Enforcement Academy to offer certification for law enforcement when dealing with equine neglect/abuse.
The Iowa Equine Rescue Network, based in Cedar Rapids, IA, is an IRS 501(c)(3)-approved organization that rescues unwanted, neglected and abused horses, mules, and donkeys and finds them permanent adoptive homes. We provide educational services to promote responsible horsemanship practices.
The Lazy R is to help hurt and abused large domestic farm animals back to good health.Then to adopt them to a caring home, where they will be taken well care of.


There are some great Quilting /Sewing Tools up for grabs.....and Rebecca Peck(Lead Fiskateer) is alos sending over some of the Gorgeous Gingher Scissors.....thanks Rebecca!
Just a reminder that if you live in the Tuggerah area of New South Wales....Spotlight Tuggerah are celebrating their Birthday this weekend and Fiskars Demonstrator Lorraine Lee Tynerman shall be in-store demoing the fabulous Fiskars Craft Tools this Saturday October 2nd from 10 am -1pm.
You shall be able to sit down and craft with Lorraine Lee ...use the Fiskars Tools....ask questions....and learn some tips and tricks along the way.....ooh what fun!
What a lovely way to spend a Saturday....maybe take a friend along and craft together!
Thanks for sending these pics through to share TARA......what a gorgeous pic of all the girls...Zoe,Tara and Poppy!
It is with much sadness that I am writing this poem tribute to a very special lady who had a big impact on my life over the past 7 years........it's hard sometimes to find the right things to say when we lose a loved one......but I always REMEMBER what Stacey said......you should always feel free to Express Yourself........and be positive....and LIVE LIFE!!
For CRAFT and for ART!
A life time FRIEND dear!
Stacey was known by many as the founder of Melbourne Paper Arts...later known as PAPERIFIC EXPO!
Hello to Gigi and Angus who joined me today in the LOOK and LEARN CRAFT HUB at the Royal Melbourne Show......it was lovely meeting both of you today....and good on you for HAVING-A-GO!
If you are coming into the Royal Melbourne Show tomorrow or Saturday then make sure you pop into the ART and CRAFT PAVILION .
I'll be working in there again in the LOOK and LEARN and Make"n"take CRAFT HUB.......right in the middle of the building with Rod and Rosemary.....we'll be offering some fun Make"n"takes and you can also purchase some Scrapbook Kits.....Stamp Factory,Inks and some Cloud 9 Christmas Stamps.
We'd love to see some of our Blog followers.....so make sure you come and say "hi"
ok......I'll leave you with a few more pics that I took last Saturday in the ART and CRAFT PAVILION.
Here are some of the RAS Volunteeers...these ladies do an amazing job in the ART and CRAFT PAVILION.......they have an information booth up one end of the CRAFT HUB.....you can't miss them.
I am in the middle of packing my scrap booking supplies for camping.
My husband has been rolling his eyes and making comments about having to take an extra trailer!
I just wanted to be able to do some created so have decided that cards would be the best option.
I found some cute little card packs to play around with that were crying out to be hand cut.
I am also trying to be good and limiting what I take.. mainly to keep hubby happy..lol..
Here's what I have managed to sort out I think I will need to get 24 cards made.
I want to be able to have the cards completed and not need to add anything to them when I get back. I plan to keep the cards since and perhaps not have set themes to them at all.. more the multi purpose card for the stash.
Would love to know what you would pack if you were going away for two weeks.
Will show you the cards when I come back that I get completed.
Robyn Wilkinson has sent through her August Calendar Layout to share with us all......looks great doesn't it.
Robyn would like to thank Kim for inspiring her last month to get some Photos taken and scrapped.......as Dawn is unwell at the moment I have uploaded this for you.


text:
\section{Introduction}

Let ${\mathcal G} = ({\mathcal P}, {\mathcal L}, {\text{I}})$ be a partial linear space of order $(s, t)$,
that is two points are incident with at most one line, each point is
incident with $t+1$ lines, and each line is incident with $s+1$ points.
If for any anti-flag $(P, L)$, there
are precisely $\alpha$ lines through $P$ meeting $L$, then ${\mathcal G}$ is called a
{\it partial geometry} with parameters $(s, t, \alpha)$.
The line graph $\Gamma({\mathcal L})$ of a partial linear space ${\mathcal G}$ has vertex set ${\mathcal L}$,
two lines adjacent when they meet.

Linear representations are an important source for partial linear spaces:
Let $n \geq 2$ and $q$ be a prime power.
Let ${\mathcal P}$ be the points of $\text{AG}(n+1, q)$ and ${\mathcal K}$ be a set of points
in the hyperplane $H \cong \text{PG}(n, q)$ at infinity.
Let ${\mathcal L}$ be the lines of $\text{AG}(n+1, q)$ which meet $H$ in a point of ${\mathcal K}$.
Then ${\mathcal T}_n^*({\mathcal K})$ denotes the incidence geometry ${\mathcal G} = ({\mathcal P}, {\mathcal L}, {\text{I}})$
where incidence is inherited from $\text{AG}(n+1, q)$.
We call ${\mathcal T}_n^*({\mathcal K})$ the {\it linear representation} of ${\mathcal G}$.
The line graph $\Gamma({\mathcal L})$ has $|{\mathcal K}| \cdot q^{n}$ vertices and
degree $q \cdot (|{\mathcal K}|-1)$.
We refer to \cite{DeClerck2003,DeWinter2005,Thas1974}
for various constructions of interesting geometries using linear
representation.

If $q=2^h$, $0 < m < h$, and $n=2$, then a maximal arc ${\mathcal K}$
of Denniston type of size $(2^h+1)(2^m-1)+1$ (see \cite{Denniston1969}) yields
a partial geometry with linear representation ${\mathcal T}_2^*({\mathcal K})$
and parameters $(s,t,\alpha) = (2^h-1, (2^h+1)(2^m-1), 2^m-1)$.
In particular, for $m=1$ we obtain generalized quadrangles
of order $(s,t) = (q-1, q+1)$.

Recall WQH-switching \cite{WQH2019} (also see \cite{IM2019}):

\begin{Lemma}[WQH-Switching]\label{lem:WQH}
    Let $\Gamma$ be a graph with vertex set $X$ and
    let $\{ C_1, C_2, D \}$ be a partition of $X$,
    where the subgraphs induced on $C_1$, $C_2$,
    and $C_1 \cup C_2$ are regular, and $C_1$ and $C_2$
    have the same size and degree. Suppose that
    $x \in D$ either has the same number of neighbors
    in $C_1$ and $C_2$, or satisfies
    $\Gamma(x) \cap (C_1 \cup C_2) \in \{ C_1, C_2 \}$.
    Construct a new graph $\Gamma'$ by interchanging
    adjacency and nonadjacency between $x \in D$ and $C_1 \cup C_2$
    when $\Gamma(x) \cap (C_1 \cup C_2) \in \{ C_1, C_2\}$.
    Then $\Gamma$ and $\Gamma'$ are cospectral.
\end{Lemma}

Only for this document, let us call a partial linear space ${\mathcal G} = ({\mathcal P}, {\mathcal L}, {\text{I}})$
of order $(s, t)$ an {\it incomplete $(s, t, \alpha)$-geometry}
when for any anti-flag $(P, L)$ of ${\mathcal G}$,
$P$ is collinear with at most $\alpha$ points on $L$.
We show the following:

\begin{Proposition}\label{prop:switching}
    Let ${\mathcal G} = ({\mathcal P}, {\mathcal L}, {\text{I}})$ be an incomplete $(q-1, t, \alpha)$-geometry with
    linear representation ${\mathcal T}^*_n({\mathcal K})$
    and line graph $\Gamma = \Gamma({\mathcal L})$ (so $t+1 = |{\mathcal K}|$).
    Suppose that $t > q(\alpha-1)$, and that
    ${\mathcal K}$ contains a line $K$ with $|K \cap {\mathcal K}| \geq 2$
    and points $Q_1, Q_2 \in {\mathcal K} \setminus K$ with $\< Q_1, Q_2 \> \cap K \notin {\mathcal K}$.
    Then there exists a graph $\Gamma'$ cospectral with $\Gamma$
    such that $\Gamma'$ is not the line graph of
    an incomplete $(s', t, \alpha')$-geometry for any $s', \alpha'$.
\end{Proposition}

A graph (not edgeless, not complete) of order $v$ and degree $k$ is called strongly regular
with parameters $(v, k, \lambda, \mu)$ if any two adjacent vertices
have precisely $\lambda$ common neighbors,
and any two nonadjacent vertices have precisely $\mu$ common neighbors.
A partial geometry of order $(s, t, \alpha)$ yields a strongly regular
graph with parameters
\[
 (v, k, \lambda, \mu) = ( \tfrac{(s+1)(st+\alpha)}{\alpha}, s(t+1), s-1+t(\alpha-1), \alpha(t+1)).
\]
By applying Proposition \ref{prop:switching} to the
partial geometries from arcs ${\mathcal K}$ of Denniston type with parameters
$(s,t,\alpha) = (2^h-1, (2^h+1)(2^m-1), 2^m-1)$ mentioned
above, we obtain the following:

\begin{Corollary}\label{cor:srg_appl}
    For $h \geq 2$, and $0 < m < h$,
    there exists a strongly regular graph with parameters
    $(v, k, \lambda, \mu) = (2^{2h}  (2^{m+h}+2^m-2^h),
    2^h  (2^h+1)(2^m-1),
    2^h  (2^{m+1}-3),
    2^h  (2^m-1))$
    which is not the line graph of a partial geometry
    of order $(s,t,\alpha) = (2^h-1, (2^h+1)(2^m-1), 2^m-1)$.
\end{Corollary}
\begin{proof}
    From $q=2^h$, $t=(2^h+1)(2^m-1)$,
    and $\alpha=2^m-1$, the inequality $t > q(\alpha-1)$ follows.
    A line of $\text{PG}(2, q)$ intersects a complete arc of size
    $(2^h+1)(2^m-1)$ either in $0$ or $2^m$ points, so
    $K$, $Q_1$, $Q_2$ exist.
\end{proof}

If $m=1$, then we have the line graph of a generalized quadrangle of order $(q-1, q+1)$
with $q=2^h$.
It is not too hard to see that a construction by Wallis \cite{Wallis1971}
produces graphs cospectral
with the line graph of ${\mathcal G}$ which are not line graphs themselves,
so Corollary \ref{cor:srg_appl} is surely known for $m=1$.
This note is motivated by \cite{vDG2022} where the authors ask
if there exists an infinite family of non-geometric
strongly regular graphs cospectral with the line graph of
a generalized quadrangle of order $(q-1, q+1)$.
More generally, Wallis' construction
with (in Wallis notation) an affine resolvable design of type $\text{AR}(2^h, 1)$
and a block design with $(v,k)=(2^{h+m}+2^m-2^h, 2^m)$ works.
Again, Denniston arcs imply the existence of these structures
(for instance, see \cite{GTW2019}).

When Proposition \ref{prop:switching} is applicable,
then one can most likely apply WQH-switching repeatedly and obtain
large numbers of graphs. For instance, starting with the line
graph of the unique generalized quadrangle of order $(3,5)$,
so $(h,m) = (2,1)$ in Corollary \ref{cor:srg_appl},
one obtains 133,005 strongly regular graphs
by applying WQH-switching up to six times \cite{Ihringer2020}.

\section{Proof of Proposition \ref{prop:switching}}

Let $M_1, M_2$ be distinct planes of $\text{AG}(n+1, q)$ through $K$.
Pick $P \in {\mathcal K} \cap K$.
For $i \in \{ 1,2\}$, let $C_i$ denote the lines in
$M_i \cap {\mathcal L}$ which contain $P$.

Let us verify that we can apply Lemma \ref{lem:WQH}:
Clearly, $|C_1| = |C_2|$.
Let $L$ be a line of $C_i$ for $\{ i, j \} = \{ 1, 2\}$.
The line $L$ is adjacent to all lines in $C_i$
and no line in $C_j$.
Hence, the induced subgraphs on $C_1$, $C_2$,
and $C_1 \cup C_2$ are all regular, and the
induced subgraphs on $C_1$ and $C_2$ have the same orders and degrees.

Now let $L$ be a line of ${\mathcal L} \setminus (C_1 \cup C_2)$.
If $L \subseteq M_i$ for some $i \in \{1 ,2 \}$, then
$L$ meets all lines of $C_i$ and none of $C_j$ for $\{ i, j \} = \{ 1, 2\}$.
In all other cases $L$ meets $M_1$  in a point $R_1$ and $M_2$ in a point $R_2$.
Hence, $L$ meets one line of $C_1$ and $C_2$ each.
Hence, we can apply Lemma \ref{lem:WQH}
and obtain a graph $\Gamma'$ cospectral with $\Gamma$.

The discussion above shows that the neighborhood
of $L \in {\mathcal L} \setminus ( C_1 \cup C_2 )$
only differs between $\Gamma$ and $\Gamma'$
when $L \subseteq M_i$ and $P \notin L$.
Such lines exist as we require $|L \cap {\mathcal K}| \geq 2$.

It remains to show that the resulting graph $\Gamma'$ cannot be
the line graph of an incomplete $(s', t, \alpha')$-geometry.
Observe that cliques of $\Gamma$
either have size $t+1$
(when they consist of all lines through point) or size at most $q(\alpha-1)+1$
(when they are contained in a plane of $\text{AG}(n+1, q)$).
Suppose that $\Gamma'$ is the line graph
of an incomplete $(s', t, \alpha')$-geometry ${\mathcal G}'$.
Hence, if two lines are adjacent in
$\Gamma'$, then they lie together in a clique of size $t+1$.

Pick a point $R$ in $M_1$.
For $i \in \{ 1, 2\}$, let $L_i$ be the line through $Q_i$ and $R$.
Note that $L_1$ and $L_2$ are not in $M_1 \cup M_2$,
so their neighborhoods are the same in $\Gamma$ and $\Gamma'$.
Hence, $L_1, L_2$ are adjacent in $\Gamma$ and $\Gamma'$,
so they lie in a clique of size $t+1$ in $\Gamma$ and $\Gamma'$ each.
For $\Gamma$, this clique is unique (as $t+1 > q(\alpha-1)+1$) and
consists of all lines through $R$.

The lines $L_1$ and $L_2$ have no common neighbor in $M_2$:
If $L_1$ or $L_2$ does not meet $M_2$, then this is clear.
Hence, suppose that $L_1 \cap M_2$ and $L_2 \cap M_2$ are
distinct points $S_1$ and $S_2$.
Let $\tilde{L}$ be the line through $S_1$ and $S_2$.
Then $\tilde{L} \cap K = \< S_1, S_2\> \cap K = \< Q_1, Q_2 \> \cap K \notin {\mathcal K}$.
Hence, $\tilde{L} \notin {\mathcal L}$.

Now we show that in $\Gamma'$ a clique containing
$L_1$ and $L_2$ has at most size $t$.

If $L_1, L_2$ lie in a clique ${\mathcal C}$ of $\Gamma'$
which does not contain a line through $R$, then $|{\mathcal C}| \leq q(\alpha-1)+1 < t+1$.
Hence, $L_1, L_2$ lie in a clique of size $t+1$ which also contains
a line $L \in {\mathcal L} \cap M_1$ with $R \in L$.

If $L \in C_1$,
then let $L'$ be a line of ${\mathcal L} \setminus C_1$ in $M_1$ with $R \in L'$
(which exists as $|L \cap {\mathcal K}| \geq 2$).
Then $L'$ is nonadjacent to $L$ in $\Gamma'$.
The line $L$ only gains lines in $M_2$ as new neighbors in $\Gamma'$,
but $L_1$ and $L_2$ have no common neighbor in $M_2$ in $\Gamma'$.
Hence, $\{ L, L_1, L_2 \}$ lie in a clique of size at most $t$.

If $L \notin C_1$, then repeat the argument with
switched roles for $L$ and $L'$, that is $L' \in {\mathcal L}$
with $R \in L'$.
Hence, $L_1$ and $L_2$ do not lie in a clique of size $t+1$,
so $\Gamma'$ is not the line graph of an incomplete $(s', t, \alpha')$-geometry.

\bigskip
\paragraph*{Acknowledgment}
The first author is supported by a
postdoctoral fellowship of the Research Foundation -- Flanders (FWO).

redpajama_set_name: RedPajamaArXiv


text:
Klunîkove (în ) este un sat în comuna Bobrîkove din raionul Antrațît, regiunea Luhansk, Ucraina.

Demografie

Conform recensământului din 2001, majoritatea populației localității Klunîkove era vorbitoare de ucraineană (%), existând în minoritate și vorbitori de rusă (%).

Note

Klunîkove, Bobrîkove, Antrațît, Luhansk
Klunîkove, Bobrîkove, Antrațît, Luhansk
Klunîkove, Bobrîkove, Antrațît, Luhansk


Veteran film critic and journalist Bhawana Somaaya has been a witness to the making of many stars in Bollywood. She has also seen some of these stars fall apart. After spending more than three decades in the film industry she has personally experienced how the industry has come a long way from using 'films' to being completely digitized.
The critic, columnist and an author has penned down her experiences of being in the industry and knowing the stars so closely in her books. Amitabh Bachchan –The legend, Salaam Bollywood, Biography of Hema Malini, and Talking Cinema are some of the books to her credit.
After penning 12 books, she took up the task of documenting the milestones of Indian Cinema and that led to the birth of her 13th book Once Upon A Time in India: A Century of Indian Cinema.
Yesterday Once Upon A Time in India: A Century of Indian Cinema (OUATII) was launched and who could have been more apt person to launch the book, which traces a Century of Indian Cinema than the legendary actor Amitabh Bachchan!
How did the idea of documenting 100 years of Indian Cinema as a book strike you?
I have been compiling notes on the blossoming of cinema over the years and have done special features of milestone years for which ever magazine I edited. One day, I was looking at my old notes and thought that it was time to update the research. The process was long and tedious and at that time I was not thinking of a book. Then I added dialogues, then lesser known facts and before I knew a book was ready.
For an author all their works are special, so how special is Once Upon A Time in India for you?
If a mother has four children she does not love her last child any less than her first, similarly just because this is my 13th book it does not become any less special than my first book released in 1999. Yes, I'm more used to the process and therefore visibly calmer and not as anxious as I was during my debut release.
This is a question I am asked time and again and there is no specific answer as I do all my books with my regular job as a journalist and now as a radio presenter but roughly the entire process of writing the book and the post production takes approximately a year.
There are many books on the subject of Indian Cinema, so what is different about OUATII?
The fact that it is in the form of a diary and is more about fun reading…It is not heavy in content and a nice way to recap the history of cinema for the present generation who are impatient to read anything that is long drawn and heavy stuff.
According to you which phase of Indian cinema can be called as the golden decade?
I would choose the fifties because it ushered the new wave cinema and magnificent directors and music directors. The seventies were special too because the writing and the star system was dramatic and full of promise both on and off the screen.
Over the years the process of filmmaking and story-telling has changed drastically. How do you look at this? Is the change good or bad?
Change is natural, why should it be good or bad, people change, life changes so why must cinema be static. If it did not change it would be stagnant.
You are a critic, columnist and an author, what is more challenging for you?
I enjoy all three and feel they are connected so there is no division for me. Yes, there is a different mindset for all but I adjust to that without even being aware of it.