View allAll Photos Tagged AURALIVING
...shes my daughter - poetic license with the words of a great song sung by The Hollies - here it is my fine flickr listeners for your aural pleasure :
Designed by architect FRANK GEHRY, Walt Disney Concert Hall, new home of the LOS ANGELES PHILHARMONIC, is designed to be one of the most acoustically sophisticated concert halls in the world, providing both visual and aural intimacy for an unparalleled musical experience.
Through the vision and generosity of Lillian Disney, the Disney family, and many other individual and corporate donors, the city will enjoy one of the finest concert halls in the world, as well as an internationally recognized architectural landmark.
From the stainless steel curves of its striking exterior to the state-of-the-art acoustics of the hardwood-paneled main auditorium, the 3.6-acre complex embodies the unique energy and creative spirit of the city of Los Angeles and its orchestra.
The Walt Disney Concert Hall at 111 South Grand Avenue in Downtown Los Angeles, California, is the fourth hall of the Los Angeles Music Center. Bounded by Hope Street, Grand Avenue, and 1st and 2nd Streets, it seats 2,265 people and serves (among other purposes) as the home of the Los Angeles Philharmonic orchestra and the Los Angeles Master Chorale.
The project was launched in 1992, when Lillian Disney, widow of Walt Disney, donated $50 million. Frank Gehry delivered completed designs in 1991. Construction of the underground parking garage began in 1992 and was completed in 1996. The garage cost had been $110 million, and was paid for by Los Angeles County, which sold bonds to provide the garage under the site of the planned hall.Construction of the concert hall itself stalled from 1994 to 1996 due to lack of fundraising. Additional funds were required since the construction cost of the final project far exceeded the original budget. Plans were revised, and in a cost-saving move the originally designed stone exterior was replaced with a less costly metal skin. The needed fundraising restarted in earnest in 1996—after the real estate depression passed—headed up by Eli Broad and then-mayor Richard Riordan and groundbreaking for the hall was held in December 1999. Delay in the project completion caused many financial problems for the county of LA. The city expected to repay the garage debts by revenue coming from the Disney Hall parking users.
Upon completion in 2003, the project cost an estimated $274 million; the parking garage alone cost $110 million. The remainder of the total cost was paid by private donations, of which the Disney family's contribution was estimated to $84.5 million with another $25 million from The Walt Disney Company. By comparison, the three existing halls of the Music Center cost $35 million in the 1960s (about $190 million in today's dollars).
Downtown Los Angeles. California.
Caption: Time lapse photo of the NASA Oriole IV sounding rocket with Aural Spatial Structures Probe as an aurora dances over Alaska. All four stages of the rocket are visible in this image.
Credit: NASA/Jamie Adkins
More info: On count day number 15, the Aural Spatial Structures Probe, or ASSP, was successfully launched on a NASA Oriole IV sounding rocket at 5:41 a.m. EST on Jan. 28, 2015, from the Poker Flat Research Range in Alaska. Preliminary data show that all aspects of the payload worked as designed and the principal investigator Charles Swenson at Utah State University described the mission as a “raging success.”
“This is likely the most complicated mission the sounding rocket program has ever undertaken and it was not easy by any stretch," said John Hickman, operations manager of the NASA sounding rocket program office at the Wallops Flight Facility, Virginia. "It was technically challenging every step of the way.”
“The payload deployed all six sub-payloads in formation as planned and all appeared to function as planned. Quite an amazing feat to maneuver and align the main payload, maintain the proper attitude while deploying all six 7.3-pound sub payloads at about 40 meters per second," said Hickman.
Read more: www.nasa.gov/content/assp-sounding-rocket-launches-succes...
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
Follow us on Twitter
Like us on Facebook
Find us on Instagram
One of the defining species of a visit in Spring/early Summer to the Spanish Steppes. A large and robust lark, with a population of at least 2 million pairs in Spain, its song is a familiar aural constant in days spent birding on the Steppes.
The song is somewhat like a slower version of the Skylarks and is generally delivered while aloft. However, like the one in the Comments section, they can sing while on the ground too.
This one was photographed in the north of Spain at Hoces del Rio Duratón in Sepulvéda when I was there on a pre-Covid trip.
A good night tonight; Danbo masters the perfect nose-grab under complicated lighting conditions with four home-made reflectors and I spent a while in Lightroom and Photoshop whilst listening to the sheer aural magnificence that is Sufjan Stevens' beautiful, and, in every way, perfect, new album, Carrie & Lowell.
Levity III is a luminariums created by the Architects of Air (a Nottingham company); it is both an aural and visual experience as daylight is transmitted by coloured pvc – the intensity of the colour is dependent on the light outside and today was dull and grey.
More information here - www.architects-of-air.com/
The fae elf mumbles reminders to herself:
"Mind your coin purse, Cat, along all of these shops! Put coppers into the Relay for Life vendors!
Be spry and don't get trampled by rushing fantasy creatures!
Embrace the lag with slow movements!
Enjoy every moment for we've only 18 days of this magic."
Twenty regions of stunning landscapes, creations, shops, and live events, plus the wonderful, round the clock aural backdrop of Fantasy Faire Radio. Come be part of this Relay For Life fundraising and vibrant, community event.
maps.secondlife.com/secondlife/Fairelands%20Junction/131/...
fantasyfairesl.wordpress.com/press-release-2022/
fantasyfairesl.wordpress.com/calendar/
fantasyfairesl.wordpress.com/literary-festival-schedule-2...
*** CHALLENGE *** Can you find the Mistwalker mistake in this photo? Mail me in Flickr or IM me inworld if you know the answer.
A pair of SD40N's, the leader with a patriotic American centennial road number, switch the Council Bluffs auto facility, providing some aural bliss.
Local name: Celepuk Rajah
Location: Sumatra, Indonesia
Adults have a fierce looking face; Body overall dark brown; when perched, blackish crown and white ear tufts visible; underparts brownish with thick black streaking. Orange iris distinct. The subspecies Otus brookii solokensis is different in plumage from O. b. brookii in having darker underparts; streaking thicker and nuchal collar less distinct. Juveniles of O. b. brookii remain un-described. O. b.solokensis has rufous upperparts and vermiculations on the underparts.
Vocalization: O.b.solokensis has an explosive "owh" or "Owh-Owh" barking call lasting about a half second and repeated irregularly
eBird:
Small, little-known owl of montane rainforest. Prominent white brows and horns combined with the fiery orange eyes give it a somewhat fearsome appearance. Perches low in the forest, but like most small owls, easier to locate aurally. Listen for its short croaking bark.
Very strong aural activity north of Yellowknife, NWT. Shot with a Canon EOS 60D and a Sigma EX 17-50mm f/2.8 OS.
Like my photos? Follow me on facebook!
This illustrates perfectly the allure of first generation diesels (of which sister D200 was arguably one of the first) with loud aural appeal and some serious exhaust under heavy load. In this case the Haymarket Forty is barking up the short but sharp gradient out of London Victoria to Grosvenor Bridge over the River Thames on a very cold and crisp winter morning.
Battersea Power Station was still hard at work at the time as can be seen by the steam emanating from it.
Look at all those heads out of the windows soaking up the sounds.
Wind chimes are a type of percussion instrument constructed from suspended tubes, rods, bells or other objects that are often made of metal or wood. The tubes or rods are suspended along with some type of weight or surface which the tubes or rods can strike when they or another wind-catching surface are blown by the natural movement of air outside. They are usually hung outside of a building or residence as a visual and aural garden ornament.
"How can we know the dancer from the dance?"
W.B. Yeats
Among School Children
My wife and I rediscovered swing dance a few years ago and were immediately attracted to a style known as Bal-swing, which is a more open, flowing, responsive, expressive and creative form of pure Balboa (Which was once described as, 'Like dancing in a phone booth.') If you have seen that 1930's cartoon of two Felix-like cats dancing, feet a blur, that is pure Balboa.
We think of Bal-swing as the perfect Jazz dance because it allows us to dance fully immersed in the music - the aural becoming spontaneously tactile and physical, no matter what. Dance as the very interpretive and improvisational essence of Jazz itself.
I mention this because, to me, it also hints at a way to visualize, and perhaps more fully understand, the bristlecone's immersion in its environment. That is, as responding to a kind of millennial music and, in the process, not only embodying the rhymic, harmonic flow of that music, but catching and expressing each individual riff - each tree a dynamic recording of deep time, both in life and in death. Bristlecone as ultimate Jazz dance. It is not much of a stretch to say that, when I look at this photo, I literally sense a kind of music. It flows right to left. Stereo. Or, maybe it is just the wind.
(Mostly, when I think of things like that, I keep them to myself, but then I discovered the watercolors of Valerie Cohen. (valeriepcohen.com/WatercolorTrees.html) One of the nicer things about the internet is that occasionally it is possible to discover others who also sense the primal music of existence.)
The other area where we are recording sounds is Sanaullah Compound, closer to Mahim railway station, where many kinds of recycling units are stacked against each other. Here, the shredding of plastic, the burning of aluminium furnaces and the sacks of scrap being thrown down from trucks are frequently heard. The screeching sounds from rusty shredding machines make one wonder how the labourers can work without the use of earplugs. For these labourers, most of whom are migrants, Sanaullah is work and home. A little shack of a restaurant, paan kiosks, barbers, an ironing man, chai stalls and various other essentials of daily living function side by side. Against this background, the aural predominance is of men talking business (or gossiping) over phones or with each other. Understandably, they don’t want their conversations recorded.
Walking around trying to be inconspicuous with a recorder in our hands, we realised that some sounds are bound to perish with time and modern lifestyles, such as the sounds of game machines in a very 90s video parlour or the bell of a kulfi seller. Collecting these sounds could be a way of creating an aural museum and complementing visual archives of Dharavi.
Not aurally. This car is fairly quiet, even at WOT nearing redline. But the black chrome wrap done by Dan's Auto Body got looks and broken necks from literally almost everybody who drove by it. If they didn't snap their neck turning to look at it, they eagerly looked into the rearview mirror.
Notes from an exhibit in Venice in 2019.
The wallpaper room created by Nadia Myre to welcome visitors consists of three walls and a heart-shaped sculpture woven over with beads. Guided by a soundscape evoking a mythical origin story of the universe beginning with a single sound, the visitor enters a built environment that mixes European and Native elements around which mutually shared stories were variably passed on by American peoples and Europeans each in their own way. Contextual elements such as ships, sections of maps, and other culturally relevant icons displayed on Myre’s design walls furnish the background for the centre piece of her installation: a human heart covered with Murano beads. Presented in much the same way as a man-made object in a Renaissance cabinet of curiosity this three-dimensional piece is emblematic of the relationship that Venice has indirectly had with indigenous North Americans over the centuries. Beads are here a marker or difference and identity simultaneously. Europeans conquered with Venice beads the hearts and imagination of Native peoples who eagerly welcomed this new trade good since the early contact phases. Historically appreciated for their brilliance and versatility, indigenous women created artworks of accomplished skill and beauty. Myre’s glass-covered heart continues in a long-standing artistic tradition that poignantly reminds us of the centrality of women in shaping history. If, as proven by commercial records and economic history, Venetians saw the North American bead trade as a lucrative enterprise, it is equally true that indigenous women’s desire for this merchandise was the incentive for Venetians to produce more, and as a consequence, make more profits. Equally treated as both a commodity and a colonial tool, beads have historically been the means by which European imperial powers established diplomacy and trade with Native North Americans. Used as the soft arm of colonisation, beads are therefore not just trade items, but agents of historical change in a cross-cultural conversation that Myre here invites us to peruse and ponder over.
Myre calls upon deep mythologies and re-examines European claims to a ‘discovery’ of the New World. For Myre, the exhibit brings to mind an ordinary sound--a sort of zero-vibration, an uncontained note or utterance--that recalls the many creation myths wherein the world was formed around an unending aural reverberation. Calling on this notion of an unfettered, ever-expanding energy as a point of origin, Nadia Myre’s works in this exhibition juxtapose Native creation stories with European contact history. These works investigate the role that European print media, especially maps, played in imposing a new, colonial origin story on North America’s Indigenous peoples; one that was rooted in a Eurocentric narrative of discovery and ignored existing modes of self-determination and historical record. Jumping off from her practice’s continual interrogation of transcultural mutation, these works focus on critically reversing the gaze of the othering eye through remixing and Indigenizing symbols of control and production of knowledge that formed a legacy of European nation states as the centre of the world.
Depicted in Myre’s damask-patterned wallpaper is a woman falling through a dark, vast expanse to begin human life on earth. To the Haudenosaunee, Sky Woman signifies a matrilineal line of descent which traces the people of Turtle Island to North America. Cradled, framed, or entrapped by images of European ships and mapping motifs, Sky Woman continues her fall to earth, enduring amidst the impending colonial origin narrative of discovery. Here, Myre translates a typical floral damask motif into colonial and indigenous signifiers, whose forms reflect, repeat and oscillate between evocations of growth, nature, violence and destruction, forming a doubled narrative of struggle, resilience, and layered points of origin. Based on the decorative double-sided textile from the Middle East, damask, as a popular luxury wall covering in Renaissance Italy, resonates with thematics of mirroring, cultural transmutation, and power. Through her incorporation of an ornamental circular motif used in Giacomo Gastaldi’s 1556 Map to delineate Hochelaga (Montreal), Myre uses the decorative and narrative nature of this wallpaper to abstract devices of circumscription and colonial naming of territory in a move to reject settler cartographic and claiming practices towards a consciousness of Indigenous knowledge of land and history. Aptly positioned as the nucleus of the installation is a terracotta sculpture of a human heart--standing in for the hungry heart of capitalism, greed, empires and colonies--covered in an Anishinaabe floral pattern made with Venetian trade beads. Used as ballast in slave/trade ships, beads were an important economic currency and exchanged for both goods and services as well as people. As a call to indigenization--a return to a focus on the environment and relational ways of knowing--the wounded heart, blanketed with beads, reminds us to centre with respect and love on all our relations. As a haunting story of the start of the world from a zero-point that precedes humanity, life, and form alike, the soundscape in Myre’s installation is a representation of the mythic original sonic vibration--rethinking the ways beginnings are identified, inscribed, written, and read. Points of origin are chosen; they do not indicate an end to nothingness, but only an inability to read what previously existed. Engaging creation stories are powerful tools of self-determination, cultural definition, and expression of value.
Former home of Joseph Toynbee, Aural Surgeon, 1815- 1866 and his son, Arnold Toynbee, Social Philosopher, 1852-1883. As the Blue Plaque on the house says, they lived here from 1854 to 1866. The building is now Parkside Oncology Clinic.
Memorial to Joseph Toynbee erected by the working men of Wimbledon
© Cynthia E. Wood
www.cynthiawoodphoto.com | FoundFolios | facebook | Blurb
The really disturbing thing is, a quick Google search for WAR turned up a web site for W.A.R., as in White Aryan Resistance, "...A white supremacist organization headed by Tom Metzger in California." It was in the top five results. I am not fucking kidding. I strongly advise you NOT to go there. It's S-C-A-R-Y. And it will tear a pound of flesh from your faith in humanity.
None of this has anything to do with my photo, of course, except that it illustrates how [visual/aural/olfactory/gustatory/etc] associations work...and how those associations can lead you down a rabbit hole...especially on the interwebs.
Visually and aurally, it's a shame the two EMD locos weren't leading, but one shouldn't complain even when the Train Gods provide a subawesome foursome.
DXC 5454 DXC 5241 DFB 7241 DC 4012, train 925, Deborah, SIMT 23 Jan 2017
A re-upload of an older creation.
The counterpart of the rusty angel.
A redo and development of this WIP. It took some time but finally, it's done. Extended the baseplate, took your great CC and feedback into consideration and added some lighting.
Jacob, especially your advice pointed me into the right direction, and kudos to Ken 'buriedbybricks' for the wing suggestion.
My pro account has expired, all of my older images (200+) can now be found HERE.
Perhaps the best way to show you the experience of walking to the falls is with a slideshow. This way I can add a soundtrack of bush sounds and the music of Claude Debussy (1862-1918). The aural and visual experience enhances the photographs that culminate in the lovely Liffey Falls.
The poem that immediately came to mind when putting this together was Welsh poet Dylan Thomas' incredible reading of, "The Force that through the Green Fuse". No one wrote as dramatically as Thomas. No one recited as powerfully as he did either. This is poetry that comes from the deep rivers of the Welsh soul.
Here Dylan (Robert Zimmerman took this name from his favourite poet) Thomas takes us to the Force of Life itself that infuses every cell in our bodies.
"The force that through the green fuse drives the flower
Drives my green age; that blasts the roots of trees
Is my destroyer.
And I am dumb to tell the crooked rose
My youth is bent by the same wintry fever.
The force that drives the water through the rocks
Drives my red blood; that dries the mouthing streams
Turns mine to wax.
And I am dumb to mouth unto my veins
How at the mountain spring the same mouth sucks.
The hand that whirls the water in the pool
Stirs the quicksand; that ropes the blowing wind
Hauls my shroud sail.
And I am dumb to tell the hanging man
How of my clay is made the hangman's lime.
The lips of time leech to the fountain head;
Love drips and gathers, but the fallen blood
Shall calm her sores.
And I am dumb to tell a weather's wind
How time has ticked a heaven round the stars.
And I am dumb to tell the lover's tomb
How at my sheet goes the same crooked worm."
When we get in touch with Nature, words like this begin to resonate powerfully within our being.
A.A.A. AURAL ART ALERT A.A.A.
...... loving to be lost in the labyrinth ....... @LEA29 - DEMIURGE & SAPIENS - Gem's land of fractals
maps.secondlife.com/secondlife/LEA29/148/145/22
- - - AURAL: arty + party - - -
Just about to start building one more band : The Stranglers.
Based on the 1984 music video : Skin Deep from the Aural Sculpture album.
A.A.A. AURAL ART ALERT A.A.A.
...... loving to be lost in the labyrinth ....... @LEA29 - DEMIURGE & SAPIENS - Gem's land of fractals
maps.secondlife.com/secondlife/LEA29/148/145/22
- - - AURAL: arty + party - - -
In the classic gender binary paradigm (you’re either a man, or you’re a woman with no in-between), the mere existence of a transgender, gender variant or gender queer individual falls somewhere between amusing and abhorrent for the traditionalists.
Until very recently, even in our planet’s “most advanced societies”, persons born intersexed (presenting both male and female genitalia) were surgically “fixed” soon after birth in order to fit into society’s prevailing gender and sex stereotypes.
This cultural gender binary creates no small amount of anguish for the transgender. To cope, many (most?) transgender individuals alternatively present themselves as either male or female. In the transgender community, this is known as living “part-time” in one’s identified gender.
I am a part-time transgender individual who gets out in the world both en femme and in male-mode, participates in transgender organizations and has attended transgender conferences. While getting to better know others and myself, I have come to understand many of the motivations and rationales for transgender persons living the “part-time” existence. This blog shares those insights and welcomes comments.
Below is a listing of some factors that can contribute to the decision to present part-time:
Confidence in Appearance – Most all transgender persons desire to appear, sometimes called “to pass”, in a manner consistent with their identified gender. Appearance here relates not only to the visual cues (hair, face, body shape and clothing), but also the aural (voice) quality as well as the movements / mannerisms of the individual.
Much of the stress associated with attaining confidence relates to an individual’s efforts to successfully meet their expectations for appearance as well as the related fear about the reactions from others to being “spotted” or “tagged” in public as being transgender. Living part-time allows a transgendered individual to exercise greater control in choosing those times and locations where they feel more confident appearing in their identified gender.
Compromise with Spouse – For those of the “baby boom” generation, the word “transgender” did not exist in dictionaries during those formative adolescent and young adult years of our lives. We had no language or logical construct to understand or articulate the gender incongruence we experienced. And since gender orientation and sexual orientation are not directly linked, many latently transgendered heterosexuals did get married. Later during those marriages, we came to a greater understanding of our transgender selves.
Most spouses when they married us did not “sign up” for a life with a transgender individual. Obviously, having sexual reassignment surgery can be a deal breaker for many marriages, but in some instances so can living full-time in our identified gender, even without surgery. Living in our identified gender part-time can often be a compromise, arrived at by both marriage partners, in order to save a loving relationship.
Jeopardized Employment – Currently in the United States, there is no nationwide prohibition of workplace discrimination based on gender orientation. A few geographic pockets of cities and states, as well as select corporations, have promulgated equity rights for transgender workers. In many instances, a person can literally jeopardize their occupational livelihood by presenting themselves at work in their identified gender. So, choosing to live “part-time” can be viewed as an act of vital economic survival.
Opinions of Friends / Neighbors – Persons who are out in public part time may still choose venues and activities that make it less likely that they will be seen by certain friends and neighbors. Much of this aversion has to do with a desire to preclude unwanted rumors; avoid making repeated explanations for the change in gender presentation as well as concerns about the future of those relationships when the transgender fact becomes known, essentially “outing” oneself. I have met individuals who only get out in their identified gender during work-related travel or personal vacations. Living full-time in one’s identified gender increases the likelihood of those challenging encounters with friends and neighbors.
Vacillating Intent / Commitment – As already mentioned, going full-time obviously has implications, perhaps irreversible, related to family, employment, as well as relationships with friends and neighbors. As the impacts in those areas may not be easily predicted, such uncertainty can often result in a transgender individual experiencing day-to-day shifts in their assessment about the big decision to lead a full-time life in one’s identified gender. From a risk perspective, this dilemma can result in a person following a cautious logic which purports that once you say “Yes” to going full-time, then you cannot in most cases go back later and say “No”, however, you can say “No” now and that still leaves the option open to say, “Yes” in the future.
Gender Dysphoria vs. Dissociative Identity Disorder – Mentioning this factor may raise some eyebrows! The typical route to sexual reassignment surgery first starts with a visit to a mental health professional (psychologist or psychiatrist) to obtain a diagnosis of gender dysphoria. Obtaining that diagnosis then medically justifies subsequent interventions by an endocrinologist for hormones and a surgeon for procedures such a breast augmentation, facial enhancement and sexual reassignment surgery.
However, a small number of transgender individuals do not have gender dysphoria, but instead have a multiple personality disorder, now more recently termed “dissociative identity disorder” where one of their intact personalities is male and one of their intact personalities is female. These two (minimally) unique personalities exist within the same body / person and the person has no anxiety or distress (dysphoria) associated with either gender. When understood in this manner, what appears to be a part-time transgender individual is actually a transgender individual with dissociative identity disorder that at different times displays an alternate personality associated with a different gender.
Sexual Activity Closely Linked To Gender Identify – Although sexual orientation and gender orientation are separate aspects of our personae, it is no secret that adult transgender people can, and most do, have a sex life. In some instances, transgender individuals can experience significant sexual arousal when presenting in their identified gender. Furthermore, some of those aroused individuals seek most or all of their sexual satisfaction when presenting in their identified gender. Since we can’t have sexual relations all the time, those individuals who primarily “dress” for sex do so on a part-time basis.
In conclusion, several factors do weigh on the minds of transgender individuals when deciding whether or not to present full time in their identified gender. If a person is confident about their appearance or does not care what people say about their presentation; if they have family support; if continued employment is assured and if they are prepared to be “out” regarding their gender status with friends and neighbors, then a clear path appears to exist for living full-time in one’s identified gender.
However, if impediments do exist in those factors of appearance, family, friends and employment, or if other already discussed additional factors influence one’s life, then a transgender individual is most likely to choose the part-time existence.
What other factors have you observed that influence transgender individuals living part-time in their identified gender?
Both aurally and visually noisy, 37025 'Inverness TMD' and 37254 'Cardiff Canton' pass through Jack Green with the 1Q83 Blackpool North to Derby RTC on 04 Dec 20.
Taken from behind the track-side fence (post digitally removed) and with landowner's permission.
Enjoy those Quiet moments :)
“The quieter you become, the more you can hear. ”
“Have you ever heard the wonderful silence just before the dawn? Or the quiet and calm just as a storm ends?”
But I have stilled and quieted myself, just as a small child is quiet with its mother. Yes, like a small child is my soul within me. Psalm 131:2
You should be known for the beauty that comes from within, the unfading beauty of a gentle and quiet spirit, which is so precious to God.1 Peter 3:4
“In quietness and confidence shall be your strength.” Isaiah 30:15
One of my contacts wrote these words and I asked his permission to share what he said, I thought his words were rich and worth considering, Thanks Terry (vidterry):
"When you think about it, 'quiet moments' are what photography is all about. No matter the subject, there is no noise when looking at a photograph. One can consider it, and appreciate what was photographed, without aural interference. Perhaps think about it as a very tiny slice of time, in between the sounds. This photograph is certainly an example of that. "
My dear Flickr friends, may your day be filled today with wonderful relaxing and quiet moments! Enjoy! :)
Not a typical supercar I usually posst but still rare and very fast car.
With a price tag touching £80,000, the Audi RS6 Avant is one of the most expensive estate cars you can buy. But when you consider the supercar-rivalling performance on offer and the practical estate car body, it offers two cars for the price of one, and you could easily spend twice as much buying an R8 sports car for thrills and a luxury SUV to go with it.
There are plenty of optional extras, and you could easily raise the car's price to £100k, but the one extra we would highly recommend is the Performance upgrade. Not only does it add more power, it also brings some added aural excitement.
Photographed at VW Castlewellan Show in Northern Ireland in July 2016. Show organized by GTINI.com
________________________________________________