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58cture<\/small><br><br> Historic mine map of Vivian pit Abertillery, the source of the pollution forming now at Six Bells.<br>\n<br>\n<br><img width=\"4618\" height=\"3464\" width_o=\"4618\" height_o=\"3464\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/9aa4b217958e4a4070ba8804fc692edc99723fe07da5d4ec2f2888f51d58e3a1\/Six-BellsAbertillery.JPG\" data-mid=\"77505601\" border=\"0\" \/><br>\n<small>Six Bells and Abertillery with the mine water treatment scheme just visible in the\nlower middle of the picture 2020.<\/small><br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n<br>\nOverlaying the \nmaterial effects of landscape are the cultural \ncomplexities that are woven so deeply into each landscape structure that they become \ninseparable; the geological, the social; the ecological and the \neconomic. These pages consider how the complicated \ninterdependencies between humans and the earth can be described through a single material.<br><br>\n<br>\n \n<img width=\"1620\" height=\"1080\" width_o=\"1620\" height_o=\"1080\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/2995b22f882737a84e469f1a27bb91c40cb227986157512a43a93dfd97c7d20b\/1.-Frances.JPG\" data-mid=\"77503057\" border=\"0\" \/><br>\n<br>\nThe\n coal mine ochre colours have a different life from \u2018traditional\u2019 or historic ochres. These new or geologically young minerals are brought into being through the treatment of polluting water in former coal mining landscapes across the UK. The \nconditions of each individual landscape influences the minerals forming there. <br><br>\nThe discovery of these qualities has happened through making artworks that follow five individual ochres from their geological landscape \ncontexts through physical transition into usable pigments \nfor paint. A process that simultaneously exposes layers of \nsociopolitical history, along with the contemporary cultural and \neconomic connections to place. \n<br>\n\n\n\t\n\t\t\n\t\t\n\t\n\t\n\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\t<br>\nOchre is the oldest of cultural materials with roots stretching back to the beginning\nof human history. The mine water ochres can be aligned with traditional historic ochre - a\nmineral that has been found sprinkled on cave floors, caked onto the buried bones of\nancient humans;<sup>1<\/sup> mixed with binder and turned into paint on cave walls, some 30,000 years ago and forming patterns on the built walls of early human settlements at Djade al-\nMughara, Aleppo, Syria 11,000 years ago.<sup>2<\/sup><br>\n\n\t\n\t\t\n\t\t\n\t\n\t\n\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\t<br>\nThe research has developed and been informed through a focused practice of\npainting and its traditions, referring to the earliest marks on cave walls, neolithic marks and the\nminimalist marks of the modernist \/ post modern traditions: Painting has been a line to\nfollow and also to drift off from. Collaboration with chemists, earth scientists and\npaint manufacturers have helped to shape and understand the analytics of the material as pigment, from particle\nsize, transparency and lightfastness, using x-ray diffraction, scanning electron\nmicroscopy (SEM) and cross polarised light microscopy, to drying, burning, grinding and\nsieving, scaling up, ratios of one medium to another to find a route to get a paint that\ncarries the weight of the conditions of its formation, that can be applied to a wall.<br>\n<br>\n<img width=\"1024\" height=\"768\" width_o=\"1024\" height_o=\"768\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/2245fd9560147be2d7b30d216737982f9a3c9f7b8885680763a2b802ce41ba39\/Cuthill-Ferrihydrite-Digital-photograph-Cross-Polarised-Light-XPL-x1000--Field-of-view-0.1-mm..jpg\" data-mid=\"77507549\" border=\"0\" \/><br>\n<small>Cuthill ferrihydrite digital photograph using cross-polarised Light (XPL) x1000, field\nof view 0.1 mm.<\/small><br>\n<br><img width=\"2560\" height=\"1920\" width_o=\"2560\" height_o=\"1920\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/e232a6fb13bb1be0eb2d8673b1013f6b68d3cb66777aa38d85a57c1a1a5aa837\/electron-microscopy-Six-Bells.jpg\" data-mid=\"77507723\" border=\"0\" \/><br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\n<small>Scanning electron microscopy (SEM) Six Bells ochre<\/small><br><br>\n<h3>Coal Authority Video<\/h3><br>\nIn 2018 the Coal Authoity produced a short film oulining the processes involved in their mine remediation programme and ochre formation. The film shows the collaborative between Onya and the Coal Authority.<br>\n<div style=\"position:relative;padding-bottom:56%;padding-top:20px;height:0;\"><iframe src=\"https:\/\/mediacentral.ucl.ac.uk\/player?autostart=n&fullscreen=y&width=0&height=0&videoId=C99b1G96&captions=n&chapterId=0\" frameborder=\"0\" scrolling=\"no\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" allowfullscreen=\"\" class=\"\"><\/iframe><\/div>\n<b><\/b><i>Turning Landscape <\/i>CIC Community Interest Comany was based Ty Ebbw Fach in the former mining village of Six Bells, Blaenau Gwent, South Wales between 2020 - 2023.<br>\n<br>The organisation continues now in a new form supporting workshops and talks about the formation of colour from the mines into usable pigment material, bringing together people with interest in the social, economic and environmental legacies of coal mining and extractive practices.<br>\n<br>The research was developed by Onya McCausland through Leverhulme research funding between 2018 - 2021. <br>\n<br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\n\n\t\t\t\t\t\n\t\t\t\t\n<hr>\t\t\t\n\t\t\n\t\n<sup>1<\/sup>
58 The Red Lady of Paviland: OUMNH Q.1. Visit to see the remains at Oxford Museum of Natural History 2016. One of the richest 1Palaeolithic sites in Europe is in South West Wales on the Gower Peninsula between Port Eynon and Rhossili. Sollas, W.J. The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol.43 (Jul. - Dec., 1913) <br><br>\n<sup>2<\/sup> National Geographic online: <a href=\"http:\/\/news.nationalgeographic.com\/news\/2007\/10\/photogalleries\/wip-week50\/photo7.html\">http:\/\/news.nationalgeographic.com\/news\/2007\/10\/photogalleries\/wip-week50\/photo7.html<\/a>, accessed: 217th December 2014. And: Caroline Cartwright (2008) The World\u2019s Oldest Wall Painting In Syria?, Palestine Exploration Quarterly, 140:1, 3-3, DOI: 10.1179\/003103208x288645 http:\/\/dx.doi.org\/10.1179\/003103208x288645 Published online: 02 Dec 2013<br>\n<br>\nTurning Landscape into Colour Abstract, link to PhD: <a href=\"https:\/\/discovery.ucl.ac.uk\/id\/eprint\/10039744\/ \">https:\/\/discovery.ucl.ac.uk\/id\/eprint\/10039744\/ <\/a><br><br><br><br>\n<br><br><br><br><br><br><br><br>\n<br>\n<br>\n<br>\n<br>\n<br>\n<br>\nFurther info on individual artworks <a href=\"http:\/\/www.onyamccausland.com\" target=\"_blank\">www.onyamccausland.com<\/a><br>\n<br>","content_no_html":"Turning Landscape into Colour\nTurning Landscape into Colour is a research site and community exploring the material and social condition of landscapes impacted by the effects of industrial scale coal and metal mining. Much of the research focus is on the legacy of mining in South Wales, Scotland, the South West and North East of England. As mineral extraction is expanding in many parts of the world - serving the industries we call \u2018sustainable\u2019 - landscapes and communities are threatened by the depletion and pollution of natural resources they rely on to survive.\nThe research in these pages shows some of the early stages of a long term ongoing investigation into the formation and life cycle of a material that signals the environmental catastrphy we are living in.\n__________________________________________________________________________________________________ \n\nWhere ever mines have been dug, water will find its way back into the chambers left by extrated ground. Over time, rain water seeps back down into the exposed hollowed out subterrainian landscape of former mines. This process has the combined significance of a geological, environmental and social event in\ntime. One that defines and describes the industrial scale extraction and exploitation of mineral materials and people. Landscapes deformed and damaged by inducstrial scale extraction are exposed to an environmental catastrophy caused by the damage that that same extraction is doing to the climate. \n \nThe water that enters these tunnels and chambers travels, collecting the dislodged and exposed mineral residues, the leftovers of the mining process as it washes through the ground. Eventually water reaches back to the surface, pouring into rivers, bringing those displaced minerals with it. Sometimes these can be very toxic: arsicnic, mercury, lead, iron, manganses, copper. Sometimes they are just the oxidised irons, but these suck the oxygen from the water as they arrive - leaving everything else without life. \n\n{image 8}\nPhotograph of Tower open cast coal mine 2015. Coal extraction at the Tower opencast\nsite came to an end in 2017 after changes in environmental regulations.\n\n\n\n {image 11}Six Bells and Abertillery showing underground mine workings overlaid with surface\ntopography and infrastructure Historic mine map of Vivian pit Abertillery, the source of the pollution forming now at Six Bells.\n\n{image 9}\nSix Bells and Abertillery with the mine water treatment scheme just visible in the\nlower middle of the picture 2020.\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\nOverlaying the \nmaterial effects of landscape are the cultural \ncomplexities that are woven so deeply into each landscape structure that they become \ninseparable; the geological, the social; the ecological and the \neconomic. These pages consider how the complicated \ninterdependencies between humans and the earth can be described through a single material.\n\n \n{image 2}\n\nThe\n coal mine ochre colours have a different life from \u2018traditional\u2019 or historic ochres. These new or geologically young minerals are brought into being through the treatment of polluting water in former coal mining landscapes across the UK. The \nconditions of each individual landscape influences the minerals forming there. \nThe discovery of these qualities has happened through making artworks that follow five individual ochres from their geological landscape \ncontexts through physical transition into usable pigments \nfor paint. A process that simultaneously exposes layers of \nsociopolitical history, along with the contemporary cultural and \neconomic connections to place. \n\n\n\n\t\n\t\t\n\t\t\n\t\n\t\n\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\t\nOchre is the oldest of cultural materials with roots stretching back to the beginning\nof human history. The mine water ochres can be aligned with traditional historic ochre - a\nmineral that has been found sprinkled on cave floors, caked onto the buried bones of\nancient humans;1 mixed with binder and turned into paint on cave walls, some 30,000 years ago and forming patterns on the built walls of early human settlements at Djade al-\nMughara, Aleppo, Syria 11,000 years ago.2\n\n\t\n\t\t\n\t\t\n\t\n\t\n\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\t\nThe research has developed and been informed through a focused practice of\npainting and its traditions, referring to the earliest marks on cave walls, neolithic marks and the\nminimalist marks of the modernist \/ post modern traditions: Painting has been a line to\nfollow and also to drift off from. Collaboration with chemists, earth scientists and\npaint manufacturers have helped to shape and understand the analytics of the material as pigment, from particle\nsize, transparency and lightfastness, using x-ray diffraction, scanning electron\nmicroscopy (SEM) and cross polarised light microscopy, to drying, burning, grinding and\nsieving, scaling up, ratios of one medium to another to find a route to get a paint that\ncarries the weight of the conditions of its formation, that can be applied to a wall.\n\n{image 12}\nCuthill ferrihydrite digital photograph using cross-polarised Light (XPL) x1000, field\nof view 0.1 mm.\n{image 13}\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\nScanning electron microscopy (SEM) Six Bells ochre\nCoal Authority Video\nIn 2018 the Coal Authoity produced a short film oulining the processes involved in their mine remediation programme and ochre formation. The film shows the collaborative between Onya and the Coal Authority.\n\nTurning Landscape CIC Community Interest Comany was based Ty Ebbw Fach in the former mining village of Six Bells, Blaenau Gwent, South Wales between 2020 - 2023.\nThe organisation continues now in a new form supporting workshops and talks about the formation of colour from the mines into usable pigment material, bringing together people with interest in the social, economic and environmental legacies of coal mining and extractive practices.\nThe research was developed by Onya McCausland through Leverhulme research funding between 2018 - 2021. \n\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n1
58 The Red Lady of Paviland: OUMNH Q.1. Visit to see the remains at Oxford Museum of Natural History 2016. One of the richest 1Palaeolithic sites in Europe is in South West Wales on the Gower Peninsula between Port Eynon and Rhossili. Sollas, W.J. The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol.43 (Jul. - Dec., 1913) \n2 National Geographic online: http:\/\/news.nationalgeographic.com\/news\/2007\/10\/photogalleries\/wip-week50\/photo7.html, accessed: 217th December 2014. And: Caroline Cartwright (2008) The World\u2019s Oldest Wall Painting In Syria?, Palestine Exploration Quarterly, 140:1, 3-3, DOI: 10.1179\/003103208x288645 http:\/\/dx.doi.org\/10.1179\/003103208x288645 Published online: 02 Dec 2013\n\nTurning Landscape into Colour Abstract, link to PhD: https:\/\/discovery.ucl.ac.uk\/id\/eprint\/10039744\/ \n\n\n\n\n\n\n\nFurther info on individual artworks www.onyamccausland.com\n","content_partial_html":"<h2>Turning Landscape into Colour<br><\/h2><br>\nTurning Landscape into Colour is a research site and community exploring the material and social condition of landscapes impacted by the effects of industrial scale coal and metal mining. Much of the research focus is on the legacy of mining in South Wales, Scotland, the South West and North East of England. <br><br>As mineral extraction is expanding in many parts of the world - serving the industries we call \u2018sustainable\u2019 - landscapes and communities are threatened by the depletion and pollution of natural resources they rely on to survive.<br><br>\nThe research in these pages shows some of the early stages of a long term ongoing investigation into the formation and life cycle of a material that signals the environmental catastrphy we are living in.<br>\n<br><br>__________________________________________________________________________________________________ <br>\n<br>\nWhere ever mines have been dug, water will find its way back into the chambers left by extrated ground. Over time, rain water seeps back down into the exposed hollowed out subterrainian landscape of former mines. <br><br>This process has the combined significance of a geological, environmental and social event in\ntime. One that defines and describes the industrial scale extraction and exploitation of mineral materials and people. Landscapes deformed and damaged by inducstrial scale extraction are exposed to an environmental catastrophy caused by the damage that that same extraction is doing to the climate. <br><br>\n \nThe water that enters these tunnels and chambers travels, collecting the dislodged and exposed mineral residues, the leftovers of the mining process as it washes through the ground. Eventually water reaches back to the surface, pouring into rivers, bringing those displaced minerals with it. Sometimes these can be very toxic: arsicnic, mercury, lead, iron, manganses, copper. Sometimes they are just the oxidised irons, but these suck the oxygen from the water as they arrive - leaving everything else without life. <br>\n<br>\n<img width=\"5184\" height=\"3456\" width_o=\"5184\" height_o=\"3456\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/aaf9afb2d832f861b2822fc2a8d3c63477ecdb06688fbbb0c7dcc6ebc45f3a5d\/2.opencast.jpg\" data-mid=\"77505497\" border=\"0\" \/><br>\nPhotograph of Tower open cast coal mine 2015. Coal extraction at the Tower opencast\nsite came to an end in 2017 after changes in environmental regulations.<br>\n<br>\n<br>\n\n <img width=\"1224\" height=\"1632\" width_o=\"1224\" height_o=\"1632\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/2a746f232e6b46d3e21abc71dc3a0954200a735b63f1b529c0326785643b114c\/Sxbls-abertillery-minemap-2.jpg\" data-mid=\"77507233\" border=\"0\" \/><br>Six Bells and Abertillery showing underground mine workings overlaid with surface\ntopography and infrastructure<br><br> Historic mine map of Vivian pit Abertillery, the source of the pollution forming now at Six Bells.<br>\n<br>\n<br><img width=\"4618\" height=\"3464\" width_o=\"4618\" height_o=\"3464\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/9aa4b217958e4a4070ba8804fc692edc99723fe07da5d4ec2f2888f51d58e3a1\/Six-BellsAbertillery.JPG\" data-mid=\"77505601\" border=\"0\" \/><br>\nSix Bells and Abertillery with the mine water treatment scheme just visible in the\nlower middle of the picture 2020.<br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n<br>\nOverlaying the \nmaterial effects of landscape are the cultural \ncomplexities that are woven so deeply into each landscape structure that they become \ninseparable; the geological, the social; the ecological and the \neconomic. These pages consider how the complicated \ninterdependencies between humans and the earth can be described through a single material.<br><br>\n<br>\n \n<img width=\"1620\" height=\"1080\" width_o=\"1620\" height_o=\"1080\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/2995b22f882737a84e469f1a27bb91c40cb227986157512a43a93dfd97c7d20b\/1.-Frances.JPG\" data-mid=\"77503057\" border=\"0\" \/><br>\n<br>\nThe\n coal mine ochre colours have a different life from \u2018traditional\u2019 or historic ochres. These new or geologically young minerals are brought into being through the treatment of polluting water in former coal mining landscapes across the UK. The \nconditions of each individual landscape influences the minerals forming there. <br><br>\nThe discovery of these qualities has happened through making artworks that follow five individual ochres from their geological landscape \ncontexts through physical transition into usable pigments \nfor paint. A process that simultaneously exposes layers of \nsociopolitical history, along with the contemporary cultural and \neconomic connections to place. \n<br>\n\n\n\t\n\t\t\n\t\t\n\t\n\t\n\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\t<br>\nOchre is the oldest of cultural materials with roots stretching back to the beginning\nof human history. The mine water ochres can be aligned with traditional historic ochre - a\nmineral that has been found sprinkled on cave floors, caked onto the buried bones of\nancient humans;1 mixed with binder and turned into paint on cave walls, some 30,000 years ago and forming patterns on the built walls of early human settlements at Djade al-\nMughara, Aleppo, Syria 11,000 years ago.2<br>\n\n\t\n\t\t\n\t\t\n\t\n\t\n\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\t<br>\nThe research has developed and been informed through a focused practice of\npainting and its traditions, referring to the earliest marks on cave walls, neolithic marks and the\nminimalist marks of the modernist \/ post modern traditions: Painting has been a line to\nfollow and also to drift off from. Collaboration with chemists, earth scientists and\npaint manufacturers have helped to shape and understand the analytics of the material as pigment, from particle\nsize, transparency and lightfastness, using x-ray diffraction, scanning electron\nmicroscopy (SEM) and cross polarised light microscopy, to drying, burning, grinding and\nsieving, scaling up, ratios of one medium to another to find a route to get a paint that\ncarries the weight of the conditions of its formation, that can be applied to a wall.<br>\n<br>\n<img width=\"1024\" height=\"768\" width_o=\"1024\" height_o=\"768\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/2245fd9560147be2d7b30d216737982f9a3c9f7b8885680763a2b802ce41ba39\/Cuthill-Ferrihydrite-Digital-photograph-Cross-Polarised-Light-XPL-x1000--Field-of-view-0.1-mm..jpg\" data-mid=\"77507549\" border=\"0\" \/><br>\nCuthill ferrihydrite digital photograph using cross-polarised Light (XPL) x1000, field\nof view 0.1 mm.<br>\n<br><img width=\"2560\" height=\"1920\" width_o=\"2560\" height_o=\"1920\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/e232a6fb13bb1be0eb2d8673b1013f6b68d3cb66777aa38d85a57c1a1a5aa837\/electron-microscopy-Six-Bells.jpg\" data-mid=\"77507723\" border=\"0\" \/><br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\nScanning electron microscopy (SEM) Six Bells ochre<br><br>\n<h3>Coal Authority Video<\/h3><br>\nIn 2018 the Coal Authoity produced a short film oulining the processes involved in their mine remediation programme and ochre formation. The film shows the collaborative between Onya and the Coal Authority.<br>\n<iframe src=\"https:\/\/mediacentral.ucl.ac.uk\/player?autostart=n&fullscreen=y&width=0&height=0&videoId=C99b1G96&captions=n&chapterId=0\" frameborder=\"0\" scrolling=\"no\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" allowfullscreen=\"\" class=\"\"><\/iframe>\n<b><\/b><i>Turning Landscape <\/i>CIC Community Interest Comany was based Ty Ebbw Fach in the former mining village of Six Bells, Blaenau Gwent, South Wales between 2020 - 2023.<br>\n<br>The organisation continues now in a new form supporting workshops and talks about the formation of colour from the mines into usable pigment material, bringing together people with interest in the social, economic and environmental legacies of coal mining and extractive practices.<br>\n<br>The research was developed by Onya McCausland through Leverhulme research funding between 2018 - 2021. <br>\n<br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\n\n\t\t\t\t\t\n\t\t\t\t\n<hr>\t\t\t\n\t\t\n\t\n1
58 The Red Lady of Paviland: OUMNH Q.1. Visit to see the remains at Oxford Museum of Natural History 2016. One of the richest 1Palaeolithic sites in Europe is in South West Wales on the Gower Peninsula between Port Eynon and Rhossili. Sollas, W.J. The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol.43 (Jul. - Dec., 1913) <br><br>\n2 National Geographic online: <a href=\"http:\/\/news.nationalgeographic.com\/news\/2007\/10\/photogalleries\/wip-week50\/photo7.html\">http:\/\/news.nationalgeographic.com\/news\/2007\/10\/photogalleries\/wip-week50\/photo7.html<\/a>, accessed: 217th December 2014. And: Caroline Cartwright (2008) The World\u2019s Oldest Wall Painting In Syria?, Palestine Exploration Quarterly, 140:1, 3-3, DOI: 10.1179\/003103208x288645 http:\/\/dx.doi.org\/10.1179\/003103208x288645 Published online: 02 Dec 2013<br>\n<br>\nTurning Landscape into Colour Abstract, link to PhD: <a href=\"https:\/\/discovery.ucl.ac.uk\/id\/eprint\/10039744\/ \">https:\/\/discovery.ucl.ac.uk\/id\/eprint\/10039744\/ <\/a><br><br><br><br>\n<br><br><br><br><br><br><br><br>\n<br>\n<br>\n<br>\n<br>\n<br>\n<br>\nFurther info on individual artworks <a href=\"http:\/\/www.onyamccausland.com\" target=\"_blank\">www.onyamccausland.com<\/a><br>\n<br>","thumb":"77503057","thumb_meta":{"thumbnail_crop":{"percentWidth":"100","marginLeft":0,"marginTop":0,"imageModel":{"id":77503057,"project_id":14346466,"image_ref":"{image 2}","name":"1.-Frances.JPG","hash":"2995b22f882737a84e469f1a27bb91c40cb227986157512a43a93dfd97c7d20b","width":1620,"height":1080,"s
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77<script type="text/x-handlebars-template" id="pin"><div class="page_container{{#if pin_options.overlay}} overlay{{/if}}{{#if pin_options.accommodate}} accommodate{{/if}}{{#if pin_options.fixed}} fixed{{/if}}{{#if pin_options.exclude_mobile}} exclude_mobile{{/if}}{{#if pin_options.exclude_desktop}} exclude_desktop{{/if}}{{#if_equal pin_options.position 'bottom'}}{{#unless pin_options.fixed}} bottom_pin_invisibility{{/unless}}{{/if_equal}}" {{#if page_options.local_layout_options.split_responsive}}split-responsive {{else}}{{#if page_options.local_layout_options.split_layout}}split-layout {{/if}}{{/if}}local-style="{{id}}"> <div class="page container container_width clearfix" data-container="content" data-id="{{id}}"> <bodycopy class="bodycopy content content_padding"> {{#if_option "title_in_project"}} {{#if show_title}} <div class="project_title" style="display: none"> {{{title}}} </div> {{/if}} {{/if_option}} <div class="page_content clearfix" data-elementresizer data-resize-parent> {{print "content"}} </div> {{{ page_options.svg_overlay }}} </bodycopy> </div> <div class="page_background"></div> <style class="local-css" data-target="{{id}}"> {{{ page_options.local_css }}} </style> {{#if_all backdrop backdrop_enabled}} <div data-backdrop="{{backdrop.backdrop_path}}" class="backdrop" data-view="Backdrop" data-id="{{backdrop.page_id}}">[script type="text/json" data-set="backdrop_data">{{{stringify backdrop}}}[/script></div> {{/if_all}} </div></script>
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77
78<script type="text/x-handlebars-template" id="pinned_top">{{#each pinned}} {{#if pin}} {{#if_equal pin_options.position 'top'}} {{>pin}} {{/if_equal}} {{/if}} {{/each}}</script>
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78
79<script type="text/x-handlebars-template" id="pinned_bottom">{{#each pinned}} {{#if pin}} {{#if_equal pin_options.position 'bottom'}} {{>pin}} {{/if_equal}} {{/if}} {{/each}}</script>
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79
80<script type="text/x-handlebars-template" id="thumbnail"><div class="container thumbnails_width clearfix"> <div class="content content_padding"> <div class="thumbnails"> {{>thumbnail_subview}} </div> </div> </div></script>
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81<script src="//static.cargo.site/libs/cargo.apicore.package.jquery213.min.js?c=2034164712&" data-main=""></script>
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82<script src="https://static.cargo.site/assets/builds/apipackage.min.js?c=2034164712&" data-main=""></script>
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89 90 91 <customhtml></customhtml> 92 <div class="loading" data-loading="page"> 93 <div class="loading_animation pulsing <%= extra_class %> "> 94 <div> 95 <svg class="loading" width="500" height="500" viewBox="0 0 500 500"> 96 <path d="M495,201.19a257.61,257.61,0,0,0-14.19-47.05,260.51,260.51,0,0,0-23.17-42.9,253.09,253.09,0,0,0-69.06-68.85,245.21,245.21,0,0,0-42.88-23A227.1,227.1,0,0,0,298.88,5.26,241.81,241.81,0,0,0,249.5.31V0C111.7,0,0,111.7,0,249.5H.32a242.23,242.23,0,0,0,4.93,49.36A227.43,227.43,0,0,0,19.82,345a247.09,247.09,0,0,0,23,43,253.65,253.65,0,0,0,68.87,68.85,260.28,260.28,0,0,0,43,23.19,258.59,258.59,0,0,0,47,14.17,254.37,254.37,0,0,0,47.86,4.69V499c7.64,0,15.16-.47,22.62-1.14.88-.08,1.77-.05,2.66-.14,1.3-.13,2.56-.41,3.86-.56,6.82-.77,13.63-1.66,20.42-3A255.67,255.67,0,0,0,345.86,480a246.52,246.52,0,0,0,42.95-23.19A253.15,253.15,0,0,0,457.64,388a246.55,246.55,0,0,0,23.21-43A256.9,256.9,0,0,0,495,298.19a250.34,250.34,0,0,0,4.71-48.69A246.63,246.63,0,0,0,495,201.19ZM484.14,249.5H249.5V483.27a238.72,238.72,0,0,1-44.83-4.37,245.21,245.21,0,0,1-44-13.26,246.55,246.55,0,0,1-40.28-21.75,237.64,237.64,0,0,1-64.61-64.62,231.25,231.25,0,0,1-21.6-40.37,212.18,212.18,0,0,1-13.63-43.15,226.46,226.46,0,0,1-4.61-46.25H249.5V15.92c.2,0,.39,0,.59,0a227.57,227.57,0,0,1,45.79,4.67,212.11,212.11,0,0,1,43.79,13.26,228.85,228.85,0,0,1,40.22,21.52,237.92,237.92,0,0,1,64.82,64.6,246.65,246.65,0,0,1,21.72,40.2,243.26,243.26,0,0,1,13.28,44.09,231,231,0,0,1,4.43,45.26Z"/> 97 </svg> 98 </div> 99</div> </div> 100 101 <div 102 id="site_menu_wrapper" class=" " 103 data-sitemenu-position="top-left" 104 data-type="cargo_menu" 105 data-set="SiteMenu" 106 data-view="SiteMenu" 107> 108 109 <a rel="site_menu" id="site_menu_button" class=""> 110 111 î±︎ 112 </a> 113 114 <div id="site_menu_panel_container" data-type="cargo_menu"><!-- empty container for site menu --></div> 115 116</div> 117 118 <a id="shop_button" rel="show_cart" href class="disabled text "> 119 </a> 120 121 <div class="main_container"> 122 123 <div data-view="pinned_top" data-set="Scaffolding" data-position="top" class="pinned pinned_top"> 124 <div class="page_container overlay" local-style="14707598"> 125 <div class="page container container_width clearfix" data-container="content" data-id="14707598"> 126 <bodycopy class="bodycopy content content_padding"> 127 128 129 <div class="page_content clearfix" data-elementresizer data-resize-parent> 130 <projectcontent><br><h1>TLiC / Turning Landscape</h1><br></projectcontent> 131 </div> 132 133 134 </bodycopy> 135 </div> 136 <div class="page_background"></div> 137 <style class="local-css" data-target="14707598"> 138 [local-style="14707598"] .container_width { 139 width: 80% /*!content_left*/; 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212} 213 </style> 214 </div> 215 </div> 216 217 <div class="content_container"> 218 <div data-view="Content" data-set="Scaffolding"> 219 220 221 222 223 <div data-container="page" class="page_container" local-style="15127566" data-id="15127566"> 224 225 <div class="page container container_width" data-container="content" data-id="15127566"> 226 <bodycopy class="bodycopy content content_padding"> 227 228 <div class="page_content clearfix" data-elementresizer data-resize-parent> 229 <projectcontent><!-- Begin Mailchimp Signup Form --> 230<link href="//cdn-images.mailchimp.com/embedcode/classic-10_7.css" rel="stylesheet" type="text/css"> 231<style type="text/css"> 232 #mc_embed_signup{background:#fff; clear:left; font:14px Helvetica,Arial,sans-serif; } 233 /* Add your own Mailchimp form style overrides in your site stylesheet or in this style block. 234 We recommend moving this block and the preceding CSS link to the HEAD of your HTML file. */ 235</style> 236<div id="mc_embed_signup"> 237<form action="https://turninglandscape.us17.list-manage.com/subscribe/post?u=2620f0a34c1b3974f3eb8540e&id=ccb61fc82a" method="post" id="mc-embedded-subscribe-form" name="mc-embedded-subscribe-form" class="validate" target="_blank" novalidate="novalidate"> 238 <div id="mc_embed_signup_scroll"> 239 <h2>Subscribe</h2> 240<div class="indicates-required"><span class="asterisk">*</span> indicates required</div> 241<div class="mc-field-group">
242 <label for="mce-EMAIL">Email Address <span class="asterisk">*</span> 243</label> 244 <input type="email" value="" name="EMAIL" class="required email" id="mce-EMAIL" aria-required="true"> 245</div> 246<div class="mc-field-group"> 247 <label for="mce-FNAME">First Name </label> 248 <input type="text" value="" name="FNAME" class="" id="mce-FNAME"> 249</div> 250<div class="mc-field-group"> 251 <label for="mce-LNAME">Last Name </label> 252 <input type="text" value="" name="LNAME" class="" id="mce-LNAME"> 253</div> 254<div class="mc-field-group input-group"> 255 <strong>Email Format </strong> 256 <ul><li><input type="radio" value="html" name="EMAILTYPE" id="mce-EMAILTYPE-0"><label for="mce-EMAILTYPE-0">html</label></li> 257<li><input type="radio" value="text" name="EMAILTYPE" id="mce-EMAILTYPE-1"><label for="mce-EMAILTYPE-1">text</label></li> 258</ul> 259</div> 260 <div id="mce-responses" class="clear"> 261 <div class="response" id="mce-error-response" style="display:none"></div> 262 <div class="response" id="mce-success-response" style="display:none"></div> 263 </div> <!-- real people should not fill this in and expect good things - do not remove this or risk form bot signups--> 264 <div style="position: absolute; left: -5000px;" aria-hidden="true"><input type="text" name="b_2620f0a34c1b3974f3eb8540e_ccb61fc82a" tabindex="-1" value=""></div> 265 <div class="clear"><input type="submit" value="Subscribe" name="subscribe" id="mc-embedded-subscribe" class="button"></div> 266 </div> 267</form> 268</div>
269<script type="text/javascript">(function($) {window.fnames = new Array(); window.ftypes = new Array();fnames[0]='EMAIL';ftypes[0]='email';fnames[1]='FNAME';ftypes[1]='text';fnames[2]='LNAME';ftypes[2]='text';}(jQuery));var $mcj = jQuery.noConflict(true);</script>
269 270<!--End mc_embed_signup--><!--
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Line numbers count LF bytes from the start of the resource, as the search results do. Vendor segments are library code the classifier recognised; they are stored but not indexed. Bytes are shown as Latin1 characters, one per byte.