Planning for a photo shoot and video storyboard of a maritime observation post overlooking the treacherous Morecambe Bay

iPhone 15 Pro Max video project planning

Here is an outline of how I plan my projects.

Creating a schedule and detailed plan for a photo shoot and video storyboard of a maritime observation post overlooking a treacherous bay requires careful consideration and organization. Here are the steps you can follow:

Step 1: Initial Planning
- Identify the purpose and objectives of the photoshoot and video storyboard. Understand the vision and key elements you want to capture.
Research the maritime observation post and the treacherous bay to better understand the location and its unique features.
- Determine the date and time for the photo shoot, considering factors like lighting, weather, and accessibility to the location.

Step 2: Location Scouting and Assessment
- Visit the maritime observation post to scout the location and assess the best angles and vantage points for capturing photos and videos.
- Note any safety concerns or challenges the treacherous bay poses to ensure a safe shooting environment.
- Consider the sunrise or sunset timings for optimal lighting conditions, and plan accordingly.

Step 3: Storyboard Creation
- Develop a storyboard outlining the sequence of shots you want to capture. Include details on camera angles, movements, transitions, and key visual elements.
- Ensure the storyboard aligns with the theme and narrative you aim to convey through the photoshoot and video.
- Share the storyboard with your team or collaborators to ensure a cohesive vision and understanding of the project.

Step 4: Scheduling Details
- Create a detailed schedule outlining the photoshoot and video production timeline. Divide the day into specific time slots for various shots and sequences.
To stay on track during the shoot, allocate time for setup, equipment adjustments, breaks, and potential reshoots.
- Consider factors like travel time, parking availability, and any permissions required to access the location.

Step 5: Equipment Preparation
- Ensure all necessary equipment, iPhones, ND filters, tripods, selfie sticks (if applicable), lighting gear, and the Rode audio recording devices, are working.
- Pack extra batteries, memory cards, and accessories needed for the shoot to avoid last-minute disruptions.
- Plan for backup equipment in case of technical issues or unexpected challenges during the shoot.

Step 6: Team Coordination
- Assign roles and responsibilities to your team members, including photographers, videographers, assistants, and any talent or models involved.
- Communicate the schedule, storyboard details, and safety guidelines to ensure everyone is aligned and prepared for the shoot.
- Establish a communication plan to address any changes or issues that may arise during the photoshoot.

Step 7: Execution and Review
- Begin the photoshoot following the schedule and storyboard, capturing each shot as planned while allowing for creative flexibility and improvisation.
- Review the images and videos on location to ensure you are achieving the desired results and making necessary adjustments as needed.
- Wrap up the shoot within the scheduled time frame and discuss any additional shots or revisions before concluding the project.

Following these steps and maintaining thorough planning and organization, you can execute a successful photoshoot and video storyboard of a maritime observation post overlooking a treacherous bay.


The Boathouse Restaurant Trip Loch a Choire Fort William Sailing West Coast Scotland

 

 

 

Overlord Scotland 2

Overlord anchored in a loch whilst in Scotland

 

 

 

 

 

Sailing the Seas: A Sailor’s Odyssey

By Captain Mariner


Verse 1: The Sailor’s True Friend

The sea, with its surging waves and cool winds, becomes the sailor’s steadfast companion. As we hoist our sails, black markings etched on ancient charts guide us toward distant horizons. These cryptic symbols reveal more than mere direction; they whisper tales of seafarers who’ve gone before us, their wisdom etched into the very fabric of the ocean.

But beware! Submerged rocks lie hidden beneath the surface, silent dangers lurking in the depths. Navigating shallow channels and rocky headlands, we thread our way through treacherous waters. Each passage demands our utmost attention, a dance with fate where one misstep could spell disaster.


Chorus: The Sea’s Relentless Dance

Big tides rise and fall, their currents pulling us into a rhythmic waltz. The sea swirls with overfalls, its waves crashing against steep cliffs. We take every chance, harnessing the elements to propel our vessel forward. The salt spray kisses our faces, and the wind sings its wild song—a melody of freedom and daring.


Verse 2: Delights and Challenges

Hidden coves beckon, their secrets waiting to be discovered. Flashing transits guide us through moonless nights, their reassuring glow leading us toward safe harbors. Prominent marks on distant shores become our companions, their constellations etched into our memories.

The chart plotter hums softly, tracing our course across digital screens. Sandy estuaries come into view, promising shelter after a day’s journey. And there, nestled against the wooden pontoon, lies the harbor cill—a threshold between the tempest and tranquility. We tie our lines, secure in the knowledge that we’ve found refuge.


Chorus: Memories of the Sea

Bowline cleats hold our ropes, their weathered surfaces bearing witness to countless tugs and knots. Green seaweed clings to our hull, a reminder of distant shores. In the damp locker, our salty clothes tell stories of storms weathered and sunsets celebrated. Life at sea is wild and free, an intoxicating blend of adventure and solitude.


Verse 3: Guided by Starlight

Bright phosphorescence dances on the water’s surface during black nights. Flashing buoys and lighthouses mark our way, their beams cutting through darkness. Prominent headlands rise like sentinels, their silhouettes etched against starry skies.

Our vessel, glossy varnish reflecting moonlight, glides gracefully. Its narrow beam slices through the waves, and the coach roof offers a vantage point—a sailor’s world in view. We navigate by constellations, our compass guided by celestial bodies as ancient as time.


Chorus: Work Never Done

Sliding hatches reveal hidden compartments, where tools and spare lines await our touch. Colored halyards snake through our fingers, their vibrant hues signaling purpose. The grey chain clinks as the anchor descends, securing us to the seabed. Life under the sun is a ceaseless cycle of maintenance and vigilance.


A Simple Life at Sea

Damp cushions cradle tired bodies, and the slow oven warms our small galley. Pitching yawls and VHF channels connect us to distant sailors, their voices echoing across vast expanses. Nautical chatter blends with the rhythmic sound of white horses crashing against our hull.

As we journey through oceans, our hearts respond to the call of adventure. Slicing through crests and Channel chop, we persevere with the might of those who’ve sailed before us. Our genoa trimmed, the chrome windlass whirring, we sail through the night.

And when the mackerel skies greet us, we raise our sails once more. White beaches and steep cliffs beckon—the realm where fearless souls take flight. Sailing south, curving like a foil, we follow a dusty track toward isolated islands and rolling seas. Our hearts forever at home, cradled by the boundless blue

 


Language Literature and Thought A symbiotic Relationship

Language, Literature, and Thought: A Synthesis

Language, literature, and thought are intricately connected, forming a dynamic relationship that influences and shapes each other. Language provides the medium through which thoughts are expressed and communicated, while literature serves as a reflection and exploration of human thought and experience.

 

 

 

 1. Language as a Tool of Thought:

Language is not merely a means of communication but also a tool for thinking. It allows us to organize and structure our thoughts, making them coherent and accessible. The vocabulary we possess influences the way we perceive and conceptualize the world around us.

2. Literature as a Mirror of Thought:

Literature reflects the thoughts, beliefs, and values of the time and society in which it is created. It offers insights into the human condition, exploring complex emotions, conflicts, and ideas. Literary works can challenge our assumptions and expand our understanding of the world.

3. Literature as a Catalyst for Thought:

Literature has the power to stimulate thought and provoke reflection. It can challenge our beliefs, question our assumptions, and open our minds to new perspectives. Reading literature can lead to personal growth, intellectual development, and a deeper understanding of ourselves and the world.

4. The Influence of Thought on Language and Literature:

Thought influences both the development of language and the creation of literature. Philosophical ideas, scientific theories, and cultural beliefs shape the vocabulary we use and the themes explored in literature. Literature, in turn, can influence thought by disseminating ideas and shaping public opinion.

5. The Cyclical Relationship:

The relationship between language, literature, and thought is cyclical. Language influences thought, thought influences literature, and literature influences language. This dynamic interplay contributes to the richness and complexity of human culture. In conclusion, language, literature, and thought are inseparable. They shape and are shaped by each other, forming a multifaceted web of human expression and understanding.

 

STORMY ESSEX BIRTH

OVERVIEW

The text is a personal narrative of the author’s birth on a Good Friday, during a blizzard and a war. The author describes the contrast between the stormy weather and the warmth of their grandparent’s house, where their mother gave birth to them. The author also portrays the emotions of their mother, who was angry and worried about their father, a soldier fighting in the Korean War. The author reflects on the significance of their birth, as a symbol of hope, resilience, and love despite the adversity they faced. The author expresses gratitude for the strength and support of their family, and their confidence in overcoming any challenges in the future.

 

 

STORMY ESSEX BIRTH 

 

 

I was born on a Good Friday, a day forever etched in my memory as a time of new beginnings and immense hardship. It was a stormy day, with a blizzard raging outside, enveloping the world in a blanket of snow. My arrival into this world took place in my grandparent's house, a haven of warmth and comfort amidst the tempest.

The roaring coal fire crackled and popped, casting dancing shadows upon the walls as if eager participants in the joyous occasion. My mother, a resilient and strong-willed woman, had braved the storm to be in the safety of her father's home during my birth. Yet, as the winds howled relentlessly and icy flakes found their way through every crevice, her anger flared.

 

 

A Good Friday birth in North Essex during a blizzard No 2



In the absence of my father, a soldier fighting valiantly with the Gloucester Regiment at the Imjin River in the Korean War, my mother's frustration and resentment grew by the minute. Worry and uncertainty swirled through her thoughts, mingling with the pain of labour. With each contrac­tion, she let out a fierce curse directed at my absent father, as if to expel her anger along with each surge of pain.

Meanwhile, the storm raged on, its relentless fury serving as an eerie backdrop to my entrance into the world. The house creaked under the weight of the snow piled high against its walls, yet within those walls, the warmth of love enveloped us. Grace, my grandmother, ever the pillar of strength, stood vigil beside my mother, offering comforting words and gentle reassurance.

Time seemed to stretch as I made my way into the world, a tiny and delicate being amidst the chaos surrounding us. Finally, as if in defiance of the storm itself, my cries mingled with the crackling flames and the howling wind, announcing my arrival.

 

 

A Good Friday birth in North Essex during a blizzard No 1



In that moment, as my mother held me in her arms, a mixture of emotions washed over her. Her anger faded and was replaced by a profound love for the tiny life she had brought forth. The joy and pride that swelled within her were undeniable, though tempered by the absence of my father.

Despite the storm outside and the turmoil of war that my father faced thousands of miles away, the warmth of that small room held the promise of a brighter future. In those early moments of my existence, surrounded by the love and strength of my mother and grandfather, I was reminded of the power of family, resilience, and the enduring bonds that weather even the harshest of storms.

That day, as the blizzard raged on and my mother's curses turned into soft whispers of hope, our little haven became a beacon of warmth and love amid the unforgiving cold. And as I took my first breaths, with the legacy of my father's bravery coursing through my veins, I knew that I was destined to overcome whatever challenges lay ahead.

Thus, my birth on that Good Friday, in the heart of a blizzard, forever serves as a testament to the strength, determination, and love that surrounds me. An indelible story that weaves through the tapestry of my existence, reminding me of the unbreakable bonds that connect us all, even in the face of adversity.

 

 

A Good Friday birth in North Essex during a blizzard No 3

 

Love & Relationships


Physiologically deconstructing Eve of St Agnes John Keats

 

Madeline Keats Eve St Agnes deconstructed

 

Here is a contemporary poem reinterpreting Keats’ Eve of Saint Agnes:

The Eve of St. Agnes 2023

St. Agnes’ Eve—Ah, bitter chill it was! The snow, for all its whiteness, was a-cold; The cars skid sliding through the icy slush, And silent was the city in its hold: Numb were the homeless fingers, while they sold Their wares, and while their frozen breath, Like puffs of smoke from cigarettes so old, Seem’d fading in the air, without a death, Past the bright billboards, while they curse their fate.

Their fate they curse, these weary, wretched souls; Then take their bags, and shuffle from the streets, And back returneth, hungry, to their holes, Along the alleyways by slow retreats: The trash, on each side, seem to heap, Enclosing them in dark, infernal piles: Rats, roaches, scavenging in grimy deeps, They passeth by; and their weak spirit riles To think how they may starve in filthy tiles.

Southward they turneth through a broken door, And scarce three steps, ere Music’s thumping bass Assaulted their ears this night and evermore; But no—already had their lifeline pass’d; The joys of all their youth were waste and cast: Theirs was harsh living on St. Agnes’ Eve: Another way they went, and soon among Rough blankets lay they for their souls’ reprieve, And all night kept awake, for sinners’ sake to grieve.

That ancient homeless heard the prelude loud; And so it chanc’d, for many a window wide, From hurry to and fro. Soon, up above, The flashing, blaring lights 'gan to collide: The penthouse suites, ready with their pride, Were glowing to receive a thousand guests: The crystal chandeliers, ever sparkling-eyed, Star’d, where upon their heads the ceiling rests, With hair blown back, and jewels put cross-wise on their chests.

At length burst in the golden revelry, With gown, tiara, and all rich array, Numerous as shadows haunting eerily The mind, new stuff’d, in age, with sorrows grey Of old romance. These let us wish away, And turn, sole-thoughted, to one Lady there, Whose heart had brooded, all that wintry day, On love, and wing’d St. Agnes’ saintly care, As she had heard an old voice whisper from the air.

She seem’d a splendid angel, newly drest, Save wings, for heaven:—Porphyro grew faint: She knelt, so pure a thing, so free from mortal taint. Anon his heart revives: her vespers done, Of all its wreathed pearls her hair she frees; Unclasps her warmed jewels one by one; Loosens her fragrant bodice; by degrees Her rich attire creeps rustling to her knees: Half-hidden, like a mermaid in sea-weed, Pensive awhile she dreams awake, and sees, In fancy, fair St. Agnes in her bed, But dares not look behind, or all the charm is fled.

Soon, trembling in her soft and chilly nest, In sort of wakeful swoon, perplex’d she lay, Until the poppied warmth of sleep oppress’d Her soothed limbs, and soul fatigued away; Flown, like a thought, until the morrow-day; Blissfully haven’d both from joy and pain; Clasp’d like a missal where swart Paynims pray; Blinded alike from sunshine and from rain, As though a rose should shut, and be a bud again.

Stol’n to this paradise, and so entranced, Porphyro gazed upon her empty dress, And listen’d to her breathing, if it chanced To wake into a slumberous tenderness; Which when he heard, that minute did he bless, And breath’d himself: then from the closet crept, Noiseless as fear in a wide wilderness, And over the hush’d carpet, silent, stept, And 'tween the curtains peep’d, where, lo!—how fast she slept.

Then by the bed-side, where the faded moon Made a dim, silver twilight, soft he set A table, and, half anguish’d, threw thereon A cloth of woven crimson, gold, and jet:— O for some drowsy Morphean amulet! The boisterous, midnight, festive clarion, The kettle-drum, and far-heard clarinet, Affray his ears, though but in dying tone:— The hall door shuts again, and all the noise is gone.

And still she slept an azure-lidded sleep, In blanched linen, smooth, and lavender’d, While he from forth the closet brought a heap Of candied apple, quince, and plum, and gourd; With jellies soother than the creamy curd, And lucent syrops, tinct with cinnamon; Manna and dates, in argosy transferr’d From Fez; and spiced dainties, every one, From silken Samarcand to cedar’d Lebanon.

These delicates he heap’d with glowing hand On golden dishes and in baskets bright Of wreathed silver: sumptuous they stand In the retired quiet of the night, Filling the chilly room with perfume light.— “And now, my love, my seraph fair, awake! Thou art my heaven, and I thine eremite: Open thine eyes, for meek St. Agnes’ sake, Or I shall drowse beside thee, so my soul doth ache.”

 

 

Keats Eve St Agnes Madeline reimagined

 

 

Thus whispering, his warm, unnerved arm Sank in her pillow. Shaded was her dream By the dusk curtains:—'twas a midnight charm Impossible to melt as iced stream: The lustrous salvers in the moonlight gleam; Broad golden fringe upon the carpet lies: It seem’d he never, never could redeem From such a stedfast spell his lady’s eyes; So mus’d awhile, entoil’d in woofed phantasies.

Awakening up, he took her hollow lute,— Tumultuous,—and, in chords that tenderest be, He play’d an ancient ditty, long since mute, In Provence call’d, “La belle dame sans mercy:” Close to her ear touching the melody;— Wherewith disturb’d, she utter’d a soft moan: He ceased—she panted quick—and suddenly Her blue affrayed eyes wide open shone: Upon his knees he sank, pale as smooth-sculptured stone.

Her eyes were open, but she still beheld, Now wide awake, the vision of her sleep: There was a painful change, that nigh expell’d The blisses of her dream so pure and deep At which fair Madeline began to weep, And moan forth witless words with many a sigh; While still her gaze on Porphyro would keep; Who knelt, with joined hands and piteous eye, Fearing to move or speak, she look’d so dreamingly.

“Ah, Porphyro!” said she, “but even now Thy voice was at sweet tremble in mine ear, Made tuneable with every sweetest vow; And those sad eyes were spiritual and clear: How chang’d thou art! how pallid, chill, and drear! Give me that voice again, my Porphyro, Those looks immortal, those complainings dear! Oh leave me not in this eternal woe, For if thou diest, my Love, I know not where to go.”

Beyond a mortal man impassion’d far At these voluptuous accents, he arose Ethereal, flush’d, and like a throbbing star Seen mid the sapphire heaven’s deep repose; Into her dream he melted, as the rose Blendeth its odour with the violet,— Solution sweet: meantime the frost-wind blows Like Love’s alarum pattering the sharp sleet Against the window-panes; St. Agnes’ moon hath set.

'Tis dark: quick pattereth the flaw-blown sleet: “This is no dream, my bride, my Madeline!” 'Tis dark: the iced gusts still rave and beat: “No dream, alas! alas! and woe is mine! Porphyro will leave me here to fade and pine.— Cruel! what traitor could thee hither bring? I curse not, for my heart is lost in thine, Though thou forsakest a deceived thing;— A dove forlorn and lost with sick unpruned wing.”

"My Madeline! sweet dreamer! lovely bride! Say, may I be for aye thy vassal blest? Thy beauty’s shield, heart-shap’d and vermeil dyed? Ah, silver shrine, here will I take my rest After so many hours of toil and quest, A famish’d pilgrim,—sav’d by miracle. Though I have found, I will not rob thy nest Saving of thy sweet self; if thou think’st well To trust, fair Madeline, to no rude infidel.

"Hark! 'tis an elfin-storm from faery land, Of haggard seeming, but a boon indeed: Arise—arise! the morning is at hand;— The bloated wassaillers will never heed:— Let us awa

 

 

 

 

Or a song with a contemporary feel:

Song

Verse 1)
In the realm of dreams and passions combined,
We embark upon a tale of love entwined,
A modern twist on timeless tales of old,
Where the past and present somehow unfold.

(Pre-Chorus)
On this eve of Saint Agnes, our story starts,
A modern reincarnation of two souls and their hearts,
Madeleine, a spirit bright and bold,
Keats’ poem's enchantment she's soon to behold.

(Chorus)
O Madeleine, in this waking dream,
Where lovers dance in moonlight gleam,
In Keats' poem we find our way,
A love reborn on this fateful day.

(Verse 2)
Madeleine, a muse as stunning as the dawn,
Seeks a love deep, true, and never withdrawn,
In a world of screens and digital embrace,
She yearns for a love that leaves no trace.

(Pre-Chorus)
As she reads the Eve of Saint Agnes by Keats,
She envisions a love that her heart truly seeks,
Of ancient rituals, passions unrestrained,
A world where love and desire can't be contained.

(Chorus)
O Madeleine, in this waking dream,
Where lovers dance in moonlight gleam,
In Keats' poem we find our way,
A love reborn on this fateful day.

(Bridge)
Through the corridors of time, Madeleine shall go,
To find her love, lost in the ebb and flow,
She steps into the realm of Keats' fairytale,
Where realities blend and dreams prevail.

(Verse 3)
In this modern reincarnation of a classic,
Madeleine meets her lover, strong and fantastic,
As they dance through the night in passionate sway,
A love rekindled on this mystical day.

(Pre-Chorus)
The essence of Keats' poem weaves their fate,
Together they transcend the limits of time and space,
In this magical encounter, their souls ignite,
A love that survives amidst the darkest night.

(Chorus)
O Madeleine, in this waking dream,
Where lovers dance in moonlight gleam,
In Keats' poem we find our way,
A love reborn on this fateful day.

(Outro)
In the tapestry of love, past and present intertwined,
Madeleine's encounters, in Keats' poem we find,
A modern tale, inspired by olden lore,
Love's reincarnation forevermore.

 

 

Central character come onKeats Eve St Agnes deconstructed

 

 

Or another poem:

In the realm where intellect convenes,
A modern poet's mind takes keen to Keats' serene,
Upon the Eve of Saint Agnes, we embark,
A journey through time, igniting sparks.

His verse heeds the call of olden days,
Adapting, modernizing, in new rhythmic ways,
In fluent words, a tapestry is spun,
Where past and present seamlessly become one.

The eve rests draped in a moon's soft glow,
Whispers fill the air, as secrets start to flow,
The echoes of Keats now intertwine,
His tale of love, unraveling with a modern shine.

A maiden fair, amidst the hallowed night,
Awaiting her beloved, bathed in moonlight,
No longer helpless, as society may deem,
She strides forth, a woman of her own esteem.

Where Keats painted Madeline's guileless grace,
Our expert's poet adds depth to her embrace,
A feminist fire in her eyes now gleams,
Fearless, she claims her own hopes and dreams.

Through labyrinthine corridors she roams,
In search of Porphyro, her heart firmly known,
Though tradition may dictate their love be denied,
Together they shall break societal stride.

Gone are the days of whispered masks,
For our modern poet, love boldly basks,
In rooms adorned with technology's charm,
Their souls entwined, casting off old harm.

Yet shadows linger, as they always do,
In this modern retelling, the darkness breaks through,
Inequities, prejudices, and misguided fears,
The poet exposes, pours through his tears.

The Eve of Saint Agnes, reimagined anew,
With every verse, its essence rings true,
Love's power remains, as time unfolds,
A timeless tale, within these words it molds.

The expert's poet, with judicious pen,
Reinterprets Keats, honing truths again,
A contemporary dance of love and strife,
Reminding us of the essence of life.

So let us pay homage, to both old and new,
To Keats and his muse and this poet's breakthrough,
For in every era, the heart beats the same,
And poetry's power remains untamed.

 

 

Keats Eve St Agnes scenario


Developing the persona of the main character in a story

Healthy-Lifestyle-gym

 

Step-by-step instructions for developing the persona of the main character in a story:

1. Identify the purpose and genre of your story: Determine the type of story you want to write (e.g., romance, thriller, fantasy) and the intended audience. This will help you tailor the persona of the main character accordingly.

2. Define the main character's role in the story: Determine the main character's function within the plot. Are they the protagonist or the antagonist? What conflicts or challenges will they face? Understanding their role will guide the development of their persona.

3. Establish the main character's background: Create a backstory for the character, including details such as their upbringing, family, education, and any significant events that have shaped their personality and beliefs. This will add depth and authenticity to their persona.

 

 

Developing the persona of the main character in a story



4. Determine the main character's goals and motivations: Define what the main character wants to achieve or the objectives they're pursuing. Dig deeper to understand their underlying motivations and what drives them towards these goals.

5. Develop the main character's personality traits: Consider the main character's unique personality traits, both positive and negative. Are they compassionate, sarcastic, intelligent, or impulsive? These traits should be consistent throughout the story and reflect their background and role.

6. Create a physical description if necessary: If the main character's appearance is relevant, describe their physical attributes, such as height, hair color, or distinctive features. However, avoid excessive emphasis on physical appearance unless it actively contributes to the story.

7. Consider the main character's values and belief system: Explore the main character's values, beliefs, and moral code. How do these aspects influence their decisions and behavior? This will make their persona more authentic and relatable.

 

 

 

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8. Determine the main character's strengths and weaknesses: Identify the main character's strengths that will help them overcome obstacles, as well as their weaknesses that may hinder their progress. Balancing these traits will create a dynamic and realistic persona.

9. Develop relationships and connections: Consider the main character's relationships with other characters in the story. How do these connections influence their persona? Determine their friendships, alliances, or rivalries, and how these interactions contribute to their character growth.

10. Allow for character growth and evolution: As the story progresses, allow the main character to develop and evolve based on their experiences and challenges. Their persona should change and adapt to reflect their growth throughout the narrative.

By following these steps, you will be able to develop a well-rounded and compelling persona for your main character that enhances the overall storytelling experience.


Characteristics of a Boxing Match

 

Boxong-women-on-boxing-training

Characteristics of a Boxing Match

This article discusses the difference between an exhibition and a professional boxing match. An exhibition boxing match is a sporting event between two professional boxers not fighting for a championship. There is no winner or loser at an exhibition boxing match-the only goal is for the fighter to make it through without being KOd. A professional boxing match usually contains three to eight rounds and can be either boxing or not.

A professional boxing match usually lasts nine to 12 rounds, while amateur matches often last only three. Boxing is a physically gruelling combat sport in which two people, usually wearing protective gloves and other protective equipment such as hand wraps and mouthguards, throw punches at each other for a predetermined amount of time in a boxing ring. The goal of boxers (those fighting against another person) is to knock their opponent out (make their opponent unconscious) or to injure them so badly that their opponent cannot continue fighting. Boxing is a sport that involves strategically punching an opponent while defending yourself from an opponent's return punches. The out-boxer (out-fighter seeks to maintain a gap from The out-boxer (out-fighter opponent and fights with faster, longer-range punches. out-fighters are often regarded as the best boxing strategists due to their ability to control the pace of the fight and lead their opponent, methodically wearing their opponent down and exhibiting more skill and finesse than a brawler.

 

Boxong-match-two-professional-boxer-boxing

A boxing match

 

A concept boxing match is a sporting event which contains a match between two professional boxers. It is usually the last professional boxing match before they make their final amateur matches or move on to the next level. This exhibition fight typically lasts only three rounds, while the last amateur matches are nine to 12 rounds, and championship fights can last up to fifteen. The only goal of a concept boxing match is for each fighter to demonstrate their skills and prove themselves to be ready for the next step in their career.

Two people enter the boxing ring and face off against each other in a physically gruelling combat sport. The boxers will then throw punches to knock out their opponent or injure them enough to be declared the winner of the match. If one boxer can render their opponent unconscious, they are considered to have bested two people, as the mere notoriety of their opponent is seen as a win. To protect themselves from injury, boxers wear protective gloves, wraps and mouthguards. The hand wraps provide extra protection for the knuckles and support for the wrist and hand muscles during a fight.

A boxing match is a test of physical and mental endurance, with both fighters being matched against each other to determine the better boxer. Fight longer-range punches, and return punches with equal or greater force than your opponent.

Winning a boxing match takes more than just strength and power; the best boxing strategists use their boxers’ speed, agility, endurance, and technique to gain the upper hand. Fighters must use their boxers’ abilities to out-duel their opponent. This means they must be able to punch their opponent accurately while handling their own boxer’s movements and counter-punches. The fighter who exhibits superior movement over his opponent by exhibiting more skill and finesse will usually be regarded as the better.

A concept boxing match is an alternative type of match used for both fitness and entertainment. It is a hybrid between traditional boxing matches and martial arts competitions, which uses the same conditioning, shadow boxing, and punching bag drills used in boxing to train fighters. Participating boxers are usually paired with bags or sparring partners to practice their technique. Training occurs in a gym or outdoors, where participants either shadow boxes or use punching bags to practice the moves they will use during their matches.

A boxing match is an event where two fighters, called prize fighters or called fighters, compete to win a match by either knocking out the opponent or scoring points based on punches, elbows and knockdowns. A referee runs the fight, enforces rules and decides who wins the match. Before a match, it’s essential to decide how many judges there will be; usually, up to three judges are used. During a boxing match, both fighters must conduct their boxing match within the limits of the enforced rules. The fighter who scores more points or inflicts more damage with punches and elbows throughout the rounds wins the match. People worldwide enjoy watching these matches as fans love to witness two athletes competing in this core sport.

 

Boxing-two-female-professional-boxers-training

Boxing Training

 

If one opponent knocks down his opponent and touches the body, he has lost the match. Similarly, if a fighter lands a finishing shot which causes his opponent to be knocked out, he has won the bout. After being knocked down, a boxer is supposed to stand up within ten seconds for a prompt standing count by the referee; if he does not get up in this time frame, he loses the contest. Punches must not slip and land on an opposing fighter’s body to win a round during a boxing match. A fighter will lose points if he fails to make contact with an opponent’s feet during the contest.

A fighter will also be disqualified if he intentionally hits his opponent’s head or eyes or attempts to thumb his opponent’s eyes. A fight usually ends when one of the fighters is knocked out or a referee stops the fight due to excessive violence. Intentional head butts are prohibited and can result in disqualification. In boxing matches, up-and-coming fighters often use eight rounds to determine the victor. Throwing rabbit punches is not allowed and can result in points being removed from a fighter’s scorecard. Points are used for judging purposes at the end of each round, with 10 points awarded for winning each round and 9 points awarded for drawing.

 World boxing has seen various changes over the years; historically, it was known as prize fighting and even gambling and corruption scandals associated with it.


Ayahs Indian Domestic Servants

 

Ayahs Indian Domestic Servant 2

Ayahs Indian Domestic Servants

Sweta Singh began the third panel with her presentation exploring ambivalence expressed toward the domestic servant in private and the public spheres of colonial India. Swapna Banerjees presentation focused particularly on the role of domestic male servants in colonial India. The lecture was a part of a European Research Council-funded project, The History of Domestic Servants in Colonial India, ERC-STG DOS, 640627.

By exploring the historical experiences and cultural memories of ayahs and amahs, the project seeks to shed light on broader trans-colonial histories of domestic labour. Scholarship of historical forms of domestic employment is now exploring its international patterns, of which the home Ayahs played a role. As a social historian whose work has focused on the migrant labourers in colonial India, I set out to untangle the histories of Indian women domestic workers as they travelled to Australia, either directly or through Britain, and to other British colonies during the nineteenth and twentieth centuries.

Etymologically, the ayah is a recent import into Indian history, which gained currency when British officials began to establish themselves in India during the latter part of the nineteenth century. First emerging in India as a distinct group of occupations following the arrival of English wives in the late eighteenth century, ayahs replaced the male servants from the pre-colonial period starting from the late 1830s, becoming a significant base for childcare jobs for British Indians in the Raj. The Ayahs functioned not only as caretakers and surrogate mothers to the British children in India but also employed themselves to look after children while European/British families were transiting to England and back.

The ayahs also crossed murky waters (kalapani) to earn their livelihood as either indentured servants, women servants, or shipboard caretakers. Despite a dearth of evidence of about 100 Ayahs, they are known to have been generally older women, used to the care-taking duties, and were able to adapt both in the English and Indian worlds. The ayahs could be defined as the marginalised insiders and the intimate others within Anglo-Indian homes since ayahs provided the more intimate labour and were intimate with their employer's private lives.

In other cases, ayahs used their agency in situations where they travelled overseas with their employers, bringing complaints against their European employers, as was the case with Thomasee and eighteen other servants who served the Browne family in New South Wales, Australia (1818). As members of an Indian community in close proximity to the Europeans, the earliest ayahs were aggressive money earners, often challenging, disrupting, and undermining their Western employers.

The employment of the ayahs and other Indian servants was the primary marker of the racial, gender, cultural, and class differences between colonizers and the colonized. Indian ayahs lived and worked in British colonial homes as babysitters, housekeepers, nurses, and, on occasion, wet nurses, helping British families to prosper in an isolated setting. The Home for the Ayahs, London, provided housing to Indian and Chinese amahs (nannies) in the early twentieth century who had been mistreated, dismissed from their services, or were simply abandoned without any means to return home.

The ayahs would accompany British families home to the UK, whether it was on a seasonal journey to escape Indian summers or when a colonial official retired. The number of accompanied journeys was reduced by 4,500 miles following the opening of the Suez canal in 1869, resulting in as many as 140 travelling ayahs visiting Britain each year, accompanied by their employed families, the memsahibs (ladies-in-waiting) and children.

Many women who travelled to Australia, argues historian Samia Khatun, came as housemaids: the ayahs would accompany their white employers from Indian ports to Australian ports and interior cities. Hailing primarily from lower-caste groups like the Bagdi and the Jalia Kabarta, poor, powerless women, many poor young widows, worked as full-time ayahs, wet nurses, or domestic servants for wealthy Aboriginal and British families.

Ayah, a term that owes its genesis to the Portuguese cognate aia (Spanish: aya; Italian: aja; and Latin: avia, meaning grandmother), Ayahs were the indigenous female nurses, female caretakers for children, particularly in European families in India. In modern India, ayah is a widespread term that refers to women who are the caretakers of children and the elderly at hospitals and homes. These earlier associations help to explain the usage of ayah derived from its Portuguese cognate, aia (meaning mother, mentor, ward), to designate women's caretakers in Anglo-Indian households.

Nitin Sinha briefly mentioned her research focus, namely, the history of female servants in India during the late 18th century and the early 19th century. First, he stressed the importance of a long history of domestic labour regulations, which, he suggested, can serve as a starting point for a historical study of servants and services.

Focusing on the colonial period, Salma Vazis thesis, which draws from literary sources, sought to recover the domestic male servant's intimate labour that was constituent to their masculinity and that of their employers. Laura Wilks contends that the domestic servants (the women commuting workers in her case study) valued both the intimate relationship with the employers and the independence that contractual wage labour involved.

Among the evidence given by Ms Dunne, and also recorded in the correspondence between Ayah's home and the Indian Ministry, was the account of one ayah brought to Britain from Bombay by a British woman in 1908, who, as was customary, released her to Thomas Cook and Son to move her work to Thomas Cook and Son.

Cited Sources


Feelings Emotions Perceptions Psychology Whilst Being Frightened

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What are the causes of fear and anxiety

 

How did we get our feelings of fear and anxiety?

How did we get here?

Embracing fear emotions and exploring the reasons for them may help you prepare to take on challenges in an active way. Fear is closely linked with the feeling of anxiety, which occurs in response to threats perceived to be out of your control or cannot be avoided.  

Fear in humans can arise either in reaction to some stimulus occurring in the present or as anticipation or anticipation of future threats perceived to pose risks to self. Much like fear, anxiety tries to alert us of potential hazards and dangers. Fear describes the emotional reaction to something potentially dangerous or threatening.  

Fear is an emotion caused by perceived danger or threats, causing physiological changes and, eventually, behaviour changes, such as acting aggressively or running away from a threat. Fear is frequently listed as one of the main basic emotions, and this is because it is strongly linked to our sense of self-preservation. Because fear involves some of the same chemical reactions in our brains as positive emotions such as joy and excitement, feeling afraid can, in certain circumstances, be seen as enjoyable, such as when watching scary movies.    

When we experience these scary things with people in our lives, we often find that emotions can be contagious in positive ways. When we experience positive experiences expressing our emotions in therapy, we can shift our beliefs about the usefulness of emotions. Cognitive-behavioural therapy (CBT) using exposure therapy techniques can be especially useful in working through a fear of emotions.   

Future studies should clarify the evolutionary theories about the effects of emotions on perception and examine why decreased tactile sensitivity might be an adaptive aspect of the fear reaction. Two experiments in which a negative emotional state was introduced and fingertip 2-point discrimination abilities were measured found that fear decreased tactile sensitivity compared with anger or neutral control conditions (Studies 1 and 2). Using a different approach for emotion induction, two experiments found that fear reduces tactile sensitivity relative to anger or a neutral state.   

The rationale for an orientation discrimination task is that if emotions increase perception, discrimination should be improved after being exposed to the face of fear. In an environment far from a stimulus in which all of the physiological responses are activated, for instance, if an electrode stimulated a brain region associated with shaking without the fearful stimulus, a person or organism would not be consciously experiencing fear, according to James-Langes emotion theory. According to the James-Lange theory of emotion, one would experience the sensation of fear only after a substantial physiological stimulus had occurred.    

A core aspect of the James-Lange emotion theory is that different arousal patterns can produce different emotional experiences. When our thinking brain gives feedback to our emotional brain, and we experience that we are in a safe space, then we may rapidly change how we experience this state of elevated arousal, moving from a state of fear to a state of pleasure or excitement. This means that, in a scenario in which somebody's physiological reaction to emotions is disabled somehow, that person will still experience an emotion of fear.    

Cited Sources


How To Survive and Live In Hot Humid In Far East Countries

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How To Survive and Live In Hot Humid In Far East Countries

How does it feel to be a refugee in a hot humid country?

The heat index is a measurement of how warm air feels on our bodies, with humidity factored in. Both the wet-bulb temperature and heat index are calculated using data about the temperature of the air and the humidity--the two most important factors affecting heat stress. A temperature of 94 degF (34.4 degC) with 80 percent humidity produces a wet-bulb or feels-like temperature of 129 deg F (53.9 degC) in NOAAs National Weather Service heat index.

 

Heat-to-humidity measurement

The heat-to-humidity measurement is called a wet-bulb temperature. Access to air-conditioning may prevent heat stress in periods of extreme wet-bulb temperatures. Air conditioning draws moisture out of the air, which is a better solution when wet-bulb temperatures are getting too hot.

With hotter, wetter days on the way this summer - and plenty of them coming as Earth gets warmer - experts say people should limit the amount of time spent outside in the heat, and use air-conditioning to cool off living spaces. It is harder to cool off when it is humid because our bodies have trouble moving heat into the wet rather than dry air, making it harder for us to sweat and cool down. Adding moisture to hot temperatures makes it harder to cool ourselves down through sweating -- humans literally could get cooked alive.

From mid-August to September, when brutal summer temperatures gradually dwindle from searing hot temperatures to just frying, humidity rises to make up for it, making the heat even worse. From June to August, normal daily temperatures are about 45C (113F), with the occasional heatwave reaching up to 50C (122F). In the July 2010 heat wave, temperatures reached a record high of 50.4C (122.7F).

Temperatures rarely get much above 90 degrees F, but it can be extremely uncomfortable due to the high humidity. The Gulf is not only warm, but it can also get extremely humid, and it stays that way for extended periods. Qatar has almost no clouds and rain, and the rising temperature of water in the Persian Gulf leads to higher levels of atmospheric humidity during some months.

 

Wet-bulb temperatures

 

The point where a heat-humidity combo becomes particularly dangerous, even lethal, is explained by scientists as wet-bulb temperature -- the lowest temperature an object can cool due to evaporated moisture. Wet-bulb temperatures are still the standard to measure oppressive heat and humidity, particularly in the context of long-term studies on global climate. A study published in 2010 identified the threshold of 35C of wet-bulb temperatures, beyond which any duration of such conditions is unbearable -- even for healthy, fit individuals.

Experts said that temperature alone is an inadequate indicator of the city's habitability: a combination of heat and moisture is. In extremely hot, wet conditions - where the air is already heavy with water vapor - sweat does not evaporate, and the body may struggle to release heat. This city's climate is generally defined as humid subtropical, although it is located in an area that tends to get warm, dry winds during summers from the North and West, with temperatures topping out at over 100F, and heat indexes climbing to as high as 117F.

Cited Sources


What is your compass bearing? 

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How did the Vikings get there?

 

The position of Polaris, or the North Star, is an important marker for celestial navigation. 

 

What is your compass bearing? 

 

INTRO 

 

In committing yourself to act, what informed and guided your decision? How did you reach your destination? Do other factors influence the direction of travel? 

Think about using a compass as a metaphor to give you a sense of direction - it will guide you like the position of Polaris, or what the North Star is to celestial navigation. 

For a successful personal agency to make positive things happen, we need a guiding beacon. What’s yours?  

One of the greatest poets of the twentieth century, the granite-faced, chain-smoking, W. H. Auden in his powerful, selfish tribute and immortalised poem by the film industry, painfully gasped: 

 

“He was my North, South, my East and West.” 

 

Wow. Beat that as a metaphor of a compass rose. Who guides you? 

Let me tell you a true story and a nautical incident that I was involved in last month. The grounding and capsizing of the 42’ luxury yacht was due to a lack of diligence, poor seamanship, and as referenced by the title of this article, not using a compass or applying the basic principles of navigation despite having mountains of reference points, and explicit aides to prevent this incident. 

On the 7 May, the Irish yacht, Dawn Glory, started a seven-day cruise around the Isle of Skye northwards through the Kyle Rhea tidal gate and fast flowing narrow tidal channel that separates mainland Scotland from the Island. 

The cruise plan took a small fleet of the Howth Yacht Club to the Crowlin Islands, Rona, across the Minch to the Shiant Islands, along the east coast of the Outer Hebrides, and the back to Skye. 

The crew and I were having a late supper after a long passage.  

As darkness and the cold night enveloped the anchorage in the loch, sudden crunching noise and the boat rapidly tilting, capsizing from the vertical to a ninety-degree horizontal position, indicated that Dawn Gory had run aground on a falling on a rocky outcrop.  

The is the important issue and the key point, despite having detailed charts, the latest navigation devices, GPS chart plotters, and iPads with the best digital charts, this incident happened. It may have had very serious consequences. 

Good seamanship, navigation, and the successful use of a compass in piloting a boat require expert insights with constant reference to guiding beacons, lights, and charts mapping out the course.  

 

 

What is your compass bearing?  Life on a small yacht video.

 

 

The causes of this yacht going aground incident were: 

  • Not listening 
  • Not responding to facts 
  • A lack of understanding and 
  • Poor seamanship 

The skipper and first mate did not accurately know their position. 

They did not use their compass to fix the boat’s position and did not respond, and ignored feedback. 

My hypothesis in using this analogy to the personal agency in our, your lives, is that we need to be informed by a sound compass bearing to make well-informed decisions. 

In reality, some constraints from the dynamics of family life, the communities expectations, and societies cultural expectations may inhibit this. Other obvious factors such as our finances, economic well-being, and personal health may impinge on our ability for personal agency. 

However, by positively and successfully using our agency, it may be possible to overcome the negative influences.   

What I am suggesting is that having clarity of thought, the ability to have informed insights and deliver solutions will impact upon our, your direction of travel and prevent catastrophes such as hitting the rocks and going aground. 

Despite being told by the alert crew, the skipper and mate did not listen or react to informed insights. 

In summary, I have used the metaphor of a compass, a compass bearing, and navigation regarding your direction of travel. The true story of Dawn Glory going aground on a moonless night in a remote loch could have been catastrophic.  

What do you use to guide, lead, and inform your life?  

What is your compass bearing? 

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