Wednesday, November 11, 2026

IJN Junyo














Descriptive material (via Deborah Ann Davis):

On October 19, 1945, American soldiers boarded the Japanese aircraft carrier Jun'yō at Sasebo, Japan, photographing a once-powerful warship that had survived some of the fiercest fighting in the Pacific but would never sail again. 

The photographs, taken by the U.S. Army, show soldiers of the 32nd Infantry Division exploring the carrier's flight deck and examining her island and radar equipment. In one image, a Japanese crew member signals an approaching tug. 

Jun'yō had begun life as the passenger liner Kashiwara Maru, but was taken over by the Imperial Japanese Navy while still under construction and converted into an aircraft carrier. Commissioned in May 1942, she carried approximately 50 aircraft and participated in major Pacific campaigns, including the Aleutian Islands operation, the Guadalcanal campaign, and the Battle of the Philippine Sea. 

She was fortunate to survive the war. 

On December 9, 1944, while returning to Japan, Jun'yō was torpedoed by American submarines USS Sea Devil (SS-400), USS Plaice (SS-390), and USS Redfish (SS-395). The attack severely damaged her bow and machinery spaces, killing 19 crewmen. Despite the damage, she managed to reach Sasebo the following day. 

Repairs began, but Japan's deteriorating industrial situation made restoring the carrier increasingly impractical. By March 1945, work had been abandoned. The immobilized ship was moved to a sheltered anchorage and camouflaged against American air attacks. 

When Japan surrendered in August, Jun'yō was still at Sasebo, stripped of much of her military usefulness and incapable of returning to sea. Although some surviving Japanese warships were subsequently disarmed and pressed into service repatriating Japanese military personnel and civilians from overseas, Jun'yō was in no condition to join them. 

On October 8, 1945, an American technical inspection team examined the carrier and declared her a constructive total loss. Eleven days later, American soldiers photographed the vessel, documenting the condition of one of Japan's few surviving fleet carriers. 

Jun'yō was officially stricken from the Japanese naval register on November 30, 1945. Scrapping began at Sasebo in June 1946 and continued until August 1947.

Tuesday, November 10, 2026

Highbrow inquiries into the fundamental concepts of grammar: #1 "A subject progressing through a predicate"







Bonus question: Are predicates "imposed upon" and/or "attached to" subjects by an utterance, or are they established by the context of the case?

More?  Please click
HERE.

Monday, November 9, 2026

More images and video from The Paradise Lost Legacy - Davao City, Philippines

  
 


 

 

 

 

 

  



 

 

 

 

 

 


 

 

 

 

 

 

 

 


 

 

 

 

  

 

 





 

 



 

 


 

 

 

   

 


 

 

 


 

Pedro Hunyo Butcon
Bienvinedo Bones Bañez, Jr.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Click here for the Philippine Information Agency announcement

Sunday, November 8, 2026

The show has begun: The Paradise Lost Legacy - November 7-15, 2026 - Davao City, Philippines, curated by Bienvinedo Bones Bañez, Jr.

 
























Tomorrow: more images from the show!

Remarks from Terrance Lindall:

Paradise Lost has been translated into Chinese. Various editions are available, including both classical and modern translations. Translations can be found in bookstores and online platforms in China.

 Paradise Lost has been translated into several African languages. Various editions are available in countries like Nigeria and South Africa. Online platforms provide access to digital copies across the continent. Literary festivals in Africa sometimes feature discussions on the work.

Southeast Asia nations altogether probably have many translations. What is unique about the upcoming presentation of Milton’s work in both art & literature is that art and interpretive versions in early 21st century productions are presented. This is our time to celebrate the greatest work in the English language by some of the greatest proponents of this work in our time.

Philippine art combines indigenous folk art, East-Asian and classical traditions. During the Spanish colonial period, art was used to spread Catholicism mainly through paintings and sculptures. Victorio Edades, known as the father of Modern Philippine Art, popularized Modernism in the Philippines in 1920s and 1930s.

Bienvenido Bones Banez Jr. was born in 7. 1962 in Davao City, Philippines, and attended the Learning Center of the Arts (now Ford Academy of the Arts) in Davao, where he studied Drawings and paintings from Professor Calota Abellana de Pio, and Professor Victorio Edades.

Banez’s work revolves around the theme of Paradise Lost, the 666 Human Imperfection, the reign of spiritual darkness in the world, which expresses itself through psychedelic depictions of evil human nature and sub-human auras. The bible message in Matthew 4 :8 is the point of departure for his proposition. It is a proposition that stems from mythology and faith into the strong belief in the Tower of Babel, Christendom and in the Judeo-Christian metanarrative wherein the Devil's rebellion is an overarching end prevailing in the mundane world. Bones using jewel-toned colors, and human "evil" promulgating the idea of feelings that rise up in themselves when we are faced by wars, experimental vaccines, racism and environmental degradation.

 Between 2009 and 2014 several drawings and paintings of Banez were acquired for the Robert J. Wickenheiser John Milton collection at the University of South Carolina. In 2017 a portrait of John Milton was added to the Milton’s Cottage collection, and he was named to the editorial board of Emanations, a print anthology of poetry, fiction, essays and fine arts published by International Authors founded by Professor Carter Kaplan. In 2010 he was included in Lexikon Surreal and KunstHerz 2021 by Prof Gerhard Habarta.    

 

 The exhibit includes Terrance Lindall, as seen in Milton for Moderns:


https://issuu.com/lindall/docs/lindall_s_milton_for_moderns                
                                                                          -- Terrance Lindall

Thursday, November 5, 2026

In Response to Marshall McLuhan (The Invisible Tower Trilogy)









McLuhan's remark is a point of departure for all manner of stimulating literary activity, from semiotics to satire, from post-structuralism to classic liberalism, from continental ideology to analytic philosophy, from institutional misinformation to Judeo-Christian insight, from conceptual credulity to verisimilitude and the suspension of disbelief...

Click the image to view the Amazon description of the Invisible Tower Trilogy: