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how do we see
opening music of this moment.
looking for a new place to begin
this is the only place.
you are the part of the time,
and you are finite; swirling thoughts.
you are one with the time,
and you are infinite; not insecure.
how little we know the inseparable
circling all present, non present
experience of the ocean's wave
the beautiful Adriana Oliveira says,
"Time is finite, now is eternal"
balance brings this eternity.
balance treasures the presence
by being the affectionate ocean,
by being the rhythm of the waves,
by playing your part in the now,
by being whole in gratefulness.
daily dharma - to be closer to inner touch
but not the analytical waves in the mind.
– perceiving fragments – distortion
waves-structures externally imposed
here is not a place to be entrenched,
alone in one's own point of view
interior calm governed by intent gaze
• welcoming gentleness – oceanness
subsuming into a coherent whole.
oceanness ~ a time to be so small
smallest opening to attentiveness.
a play of integration and letting go
resourcefulness in every wave
"slowing down before the rush"
gifting kindness and tenderness,
to that space – grief's tide need –
loving presence, our very essence
surrendering to the greater whole.
⁛ ❀ ⁛
When I look back, at each of the choices that became the turning point of my life, I find that these were guided by the beliefs in the way I have dealt with life and work.
Time or style is a limited notion. It can be easily set aside if we realize that all we perceive is viewed through our memories and present. There are layers that must be seen together and not as fragmented issues, be they of art, architecture or life itself. It is essential that we look from a distance with eternity or timelessness.
Ar. B.V. Doshi in Paths Uncharted
The spectacle of the sea always makes a profound impression. It is the image of that infinite that attracts thought without rest, and in which the thought goes without losing its way. --- Madame de Staël
⚡
Listen Yira Yira - Carlos Gardel
Cuando la suerte qu’es grela
fayando y fayando
te largue parao...
Cuando estés bien en la vía,
sin rumbo, desesperao...
Cuando no tengas ni fe,
ni yerba de ayer
secándose al sol...
Cuando rajés los tamangos
buscando este mango
que te haga morfar...
La indiferencia del mundo
que es sordo y es mudo
recién sentirás.
Verás que todo es mentira
verás que nada es amor
que al mundo nada le importa
Yira... Yira...
Aunque te quiebre la vida,
aunque te muerda un dolor,
no esperes nunca una ayuda,
ni una mano, ni un favor.
Cuando estén secas las pilas
de todos los timbres
que vos apretás,
buscando un pecho fraterno
para morir abrazao...
Cuando te dejen tirao,
después de cinchar,
lo mismo que a mí...
Cuando manyés que a tu lado
se prueban la ropa
que vas a dejar...
te acordarás de este otario
que un día, cansado,
se puso a ladrar
Besalú is a town in the Garrotxa region, located at 150 metre above sea level, covering an area of 4.81 km2. Bisuldunum, as its origins suggest, was a fortress between two rivers: the Fluvià in the south and the Capellades in the north. Well communicated, Besalú is located at the meeting point of three regions: Alt Empordà, Pla de l'estany and Garrotxa. Besalú began to gain importance as the capital of an independent county following the death of Guifré el Pilós (902); It lost this status with the death of Bernat III- son-in-law of Ramon Berenguer III- leaving no suvirvors. As a result, Besalú became part of Barcelona. In 1966, it was declared a "National Historic-Artistic Ensemble" due to its high architectural value.
Castellano
La importancia monumental de Besalú viene determinada fundamentalmente por su gran valor como conjunto arquitectónico, su unidad artística lo convierte en una de las muestras más importantes y singulares de los conjuntos medievales en Cataluña.
Encontramos el orígenes de la Villa en el castillo documentado en el siglo X y situado en lo alto de la pequeña colina de Santa María donde actualmente se encuentran los restos de la colegiata que lleva el mismo nombre. El hecho de encontrar la fortaleza en este emplazamiento es debido a la situación estratégica en el cruce de tres comunicaciones importantísimas en el periodo medieval : el camino de Olot hacia el pirineo, el camino de Figueres hacia el mar, el camino a Girona, capital del Obispado.
La existencia actual de importantes edificios Medievales hace posible una interesantisima lectura sobre la urbanización en la edad media, Besalú deja entrever una estructura arquitectónica y urbanística bastante coherente aunque con las consiguientes contradicciones que supone el largo proceso de construcción y evolución. Aunque los orígenes de Besalú se remontan a íberos y celtas : Bisuldunum ( fortaleza entre dos aguas) y destacando el paso de los romanos por nuestro enclave (centro arqueológico de la Devesa), el periodo más profundo, más importante transcurre durante los siglos X,XI y XII. A partir de la conquista de Girona por los carolingios (785)cuando los reyes francos encomiendan la administración de su territorio a la figura del conde, nombrado por el rey, que podía ser revocado de su cargo si el monarca así lo decidía. Doce fueron los condes de Besalú a partir de Guifredo el velloso (902) hasta Bernardo III (1111). Cabe destacar a Bernardo I Tallaferro (1020) como figura clave en el desarrollo y evolución histórica de la Villa.
Cabe destacar la convivencia de dos culturas: judíos y cristianos, puesto que hasta iniciado el siglo XV tuvieron una vida en común. Muchos fueron los médicos judíos de Besalú, algunos actuaron como médicos en la corte real e hicieron tratados sobre la peste negra .
In Wordpress In Blogger photo.net/photos/Reinante/ In Onexposure
Este retablo —conocido en la documentación capitular como Triunfo de Santiago— fue realizado entre 1707-1708 por Francisco Hurtado Izquierdo (1669-1725), su primera gran obra en Granada.
La talla del retablo fue realizada por el ensamblador Juan de la Torre (fl. 1707) y su dorado es obra del pintor y estofador alcalaíno–granadino Pedro Romero.
Hurtado Izquierdo logra integrar de manera coherente expresiones escultóricas y pictóricas ambientadas en una decoración donde combina lo vegetal con lo geométrico, lo orgánico con lo abstracto...
she is
feisty, angry, very irritable and severely
paranoid.
She cannot sustain a civil,
coherent conversation.
She will not answer any questions.
Walking by her results in a weak but coherent
response, "help ".
then she turns away.
if you give her a dollar
she will toss it back to you
and say " I want 20 " and then
goes on a tirade that is hard to follow, because she has a severe thought disorder.
She is always psychotic!!!
She looks quite physically ill
also.
She is just one of several interesting neighbors in the East Village
of
ManHatTan
Photography’s new conscience
IC 1396 is a large circular region of glowing gas and dust in the constellation of Cepheus and is located about 2400 light-years from Earth.
IC1396A is a portion of this complex known as the Elephant's Trunk. This image is based on 7.3 hours of narrowband data and rendered in the SHO Hubble Palette.
The data was collected over two nights ending on October 22nd. This image was taken on my Astro-Physics 130mm EDT f/8.35 APO telescope platform, which uses a ZWO ASI2600MM-Pro camera, and is supported by an IOptron CEM60 Mount.
My original plan was to collect at least 15 hours of data for the project. That did not happen. This is the usual point where I usually start whining about our weather and how clouds had shut me down.
That's not what happened this time.
This time I was taken down by a nasty virus that gave me the worst cold I have ever had.
We had two wonderfully clear nights that I would have loved to shoot. But by then, I was a drooling puddle of whimpering snot who no longer cared about clear night or astrophotography!
I am now slowly on the mend and feeling just well enough to start processing what data I could acquire whilst still coherent.
The Targets are still there, and hopefully - I will get another chance in November to finish the few that need more data. In the meantime, I will process and publish those sets that received at least a reasonable integration.
The image was processed by using a Synthetic computed Luminance image and extensive use of starless processing workflows.
The full story behind this image, along with a detailed processing walkthrough, can be found at:
cosgrovescosmos.com/projects/ic1396a-10-31-22
I will be adding a video overview of the processing - once my voice returns!
Explosion of light in Amsterdam
-------------------------
The Skinny Bridge counts around 1,800 light bulbs that are responsible for lighting up the contours of the bridge at night. This type of illumination is typical for Amsterdam bridges: the arches are accentuated by the concentration of light bulbs, and together they provide a unique and coherent cityscape.
The assignment that I am working on is narrative. Please let me know what you think. I have looked at it for so long now that my brain is totally frazzled and I feel totally incapable of coherent thoughts.
Seen on the street.
Sometimes the details are arranged into a coherent whole.
The faces of the sun and the moon composed themselves with the face crowning the gate.
My rather small contribution to the AWARD WINNING mocpages Middle Earth display this year at Brickworld were these two Ents. Those of you lucky enough to be there at BW may have seen less coherent versions of these guys after I tried to rebuild their shattered carcasses after shipping from Australia. So here's what they should've looked like :)
More on our Middle Earth display.
I'll be posting more pics of Brickworld and the rest of my USA trip soon.
www.flickr.com/groups/tourney_2018/
I decided to go for microscale. I had recently made a microscale boat design that I am really proud of, so I took that and went from there. I know it may be small, but there were certainly many issues during the process of building. Getting all the buildings looking coherent, yet having their own individual qualities was tough. The dragon itself took about 2 hours to finally perfect. The ocean itself took about 3 tries. All in all, I still have the lingering feeling that something is missing, but I still don't know what it is.
Thanks for looking and good luck to all my fellow contestants!
Sephirot [or "enumerations", Sephiroth, Sefiroth (סְפִירוֹת), singular: Sephirah, also Sefirah (סְפִירָה "enumeration" in Hebrew)], in the Kabbalah of Judaism, are the ten attributes that God (who is referred to as אור אין סוף Aur Ain Soph, "Limitless Light, Light Without End") created through which he can manifest not only the physical but the metaphysical universe.
Through a careful study of the Tanakh, Jewish sages identified ten Sephirot (ten being the number of divine perfection) known by the following names/characteristics from highest to lowest:
1. Keter - Divine Plan/Creator/infinite light/Ehyeh Asher Ehyeh - I AM THAT I AM (Supreme/Total Consciousness)
2. Chokmah - Divine Reality/revelation/Yesh me-ayin - being from nothingness (Power of Wisdom)
3. Binah - Understanding/repentance/reason (Power of Love)
4. Chesed - Mercy/Grace/Love of (intention to emulate) God (Power of Vision)
5. Gevurah - Judgment/strength/determination (Power of Intention)
6. Tipheret - Symmetry/balance/compassion (Creative Power)
7. Netzach - Contemplation/Initiative/persistence (Power of the Eternal Now)
8. Hod - Surrender/sincerity/steadfastness (Intellectual/Observational Power)
9. Yesod - Foundation/wholly remembering/coherent knowledge
(Power of Manifesting)
10. Malkuth/Lower Crown - Kingdom/physical presence/vision and illusion
(Power of Healing/Accomplishment/Level of Realization of Divine Plan)
Das zusammenhängende Lavagebiet der Feuerberge von Lanzarote im Südwesten der Insel mit einer Ausdehnung von ca. 200 Quadratkilometern - etwa ein Viertel der ganzen Insel - ist ein beeidruckendes Naturerlebnis. Man sieht hier weite zusammenhämgende Lavafelder, die sich seit dem Ende der Vulkanausbrüche 1736 kaum verändert haben.
The coherent lava area of the Lanzarote fire lodges in the south-west of the island, with an area of about 200 square kilometers, about a quarter of the island, is an impressive natural experience. You can see vast clumping lava fields, which have hardly changed since the end of the volcanic eruptions of 1736
Natural Articulations.
Instintos cores elações reações vanguardistas comuns exageros fortes formas convulsivas expressando naturezas espectros metafísica alegrias,
points chromatiques ruptures arts intéressants formes tordues innovantes libertés cohérentes compréhension distinguée dispersion des tons vifs,
izbitoare termeni sălbatici imaginație impresionantă curajos blues tropical inspirații exotice roșii barbari încurcături galbene teorie nebunie compusă ideologie scenă senzuală schimbarea suprafețelor,
zestawienie wrażeń dostatecznie czyste poglądy dywizjonizm syntetyzm łączenie zieleni irracjonalne kolory dopełniające zniekształcające wyjaśnienia,
intense hues,
عناصر مختلفة داكنة معقدة اشكال أنماط معيشية تحليلية شهوات متحركة شهية مفاهيم شهية حركات عنيفة,
光学作品に影響を与える整然とした混合物は、過激な詩を誇示する表現を苦しめ、日々を満足させる宝物を相互に結びつけました.
Steve.D.Hammond.
Wings Of Spring.
Ciels psychédéliques univers vivants distillations merveilleuses descriptions visions hallucinations cohérentes grandes ingestions comprendre les pensées lucides importantes,
voci minacciose prese verbali fantasiose esagerazioni pronunciare dettagli conoscenza spazio stati alterati fragile medium sostanze inebrianti,
morfing former uutnevnelig spenning illusjoner høye ødelagte uttrykk umiddelbare felt smerte latter karriere liv stimulerende effekter,
chwilfrydedd diddorol difyrion mawr mae affrodisaidd yn cofleidio canfyddiadau chwerthinllyd o ryfeddod cemegol awyr ysblennydd,
stimulerende studies mentale vrijheden spannende geest wankelende omstandigheden continue ontwikkelingen fysieke dagen scherpzinnig geschrift,
魅惑的な狂気驚くべき強力な問い合わせ洗練自然新興療法の疑似科学シフトの説明動機付けの印象色物語の奇妙さの飛行.
Steve.D.Hammond.
Todays conversational highlights
- en route to the hospital
mom : they say its going be very windy today.
me: okaaay
mom: you will want to drive with both hands on the wheel.
( you have to remember that these are conversations from a jewish mother/daughter duo..think seinfeld)
- in the hospital
(how we know dad is doing much better today)
me: dad, why are you tapping on your heart - are you having alot of pain right now?
dad: no, i wasn't feeling any thing so i thought i was dead.
-tonight at my bro's house
Ethan: aunt sue, i love when you have dinner here.
me: Ethan, i love you. you are my #1
Ethan - you are #2
- - melting....
** thanks for the support and im glad to say that dad is rallying today .. so he still has some fight in him and he was coherent and fighting today! .. Im going to try to get caught up with your streams shortly..thank you for you support and best wishes.
Adrenalin junkies fret hormones from the peripheral morons
Is this soccer?
Tickle me. I don't know.
But I do know that these boys are not so crazy about some Michael Owen or
some David Beckham. I DO know that that there is no fanfare of spectators...
Nor is this any carpet grassed Million Dollar stadium, nor is anybody wearing
any crude designer jerseys.
Why, then? You may ask, is this game any more special than the other.
The answer lies in the mind.
It is a powerful, mind intoxicating game that requires total commitment from
the brain and the body.
The brain pumps hormones to fire-up vital organs such as the
heart, lungs and kidneys which team-up with the physical body to become one
powerful machine capable of cutting through rays of light.
It is the right game for the right situation.
The only game perhaps, these boys can count on, for some enthusiasm,
in a life of misery.
- - - - - - - - - - - - - - - - - - - - - - - -
1. 130 of the Worlds most powerful leaders meet in New York, USA.
The distinguished people play a game of deceit, shrewdness and
procrastination which is coherent with some political agenda.
2. A bunch of young, homeless boys meet at the local playground.
The boys play a high-caliber game that tells them to live it up!
Forget the misery - Fuck everything else.
Both are games. Both are real.
- - - - - - - - - - - - - - - - - - - - - - - -
FACT: Nine months on after the deadly tsunami in Asia, little is being done
to help ease the inconveniences of the deprived. Entire island communities
have been relocated and housed in cardboard sheds, (background in the pic.)
with few or no Amenities.
Sad.
Posted by _az
19:09:05
El origen de la ciudad fue el castillo de Besalú que ya se encuentra documentado en el siglo X, construido encima de un cerro donde están los restos de la canónica de Santa María, en la Alta Edad Media. El trazado actual de la villa no responde fielmente a su estado original pero sí que posibilita a grandes rasgos la lectura de la urbanización de la Edad Media con la existencia de importantes edificios: el puente, los baños judíos, la iglesia del monasterio de San Pedro de Besalú y San Julián, antiguo hospital de peregrinos, la casa Cornellá, la iglesia de San Vicente y la sala gótica del Palacio de la Curia Real.Besalú deja ver una estructura arquitectónica y urbanística bastante coherente con el pasado medieval. La importancia monumental de Besalú viene dada fundamentalmente por su gran valor de conjunto, por su unidad, que la determina como una de las muestras más importantes y singulares de los conjuntos medievales de Cataluña.Miró I el Joven fue el primer conde independiente de Besalú. Besalú comenzó a adquirir importancia como capital de condado independiente después de la muerte de Wifredo el Velloso en el año 902, condición que perdió al morir Bernat III, yerno de Ramón Berenguer III, sin descendencia; como consecuencia, en 1111 el condado de Besalú pasó a la casa de Barcelona.Durante la Guerra de la Independencia se produjo una batalla con victoria de las tropas españolas al mando de Juan Clarós.En 1966, fue declarada «Conjunto Histórico-Artístico Nacional» por su gran valor arquitectónico.Actualmente, Besalú está desarrollando un proyecto social y turístico importante, señalizando el centro histórico para destacar los atractivos turísticos de la población y haciendo excavaciones para investigar diferentes hallazgos arqueológicos.
Melusina Parkin and Milena Carbone have cooperated for the first time in this exhibition. Milena composed the texts, each piece inspired by one of Melusina’s images. Pieces of sentences that, put together, constitute an absurd story, but a coherent whole, like a journey of human life. A contemporary ballet on music of Steve Reich will be performed by The Carbone Dance Company.
Opening Wednesday July 7th
Visit the exhibition now at The Carbone Gallery Serena
maps.secondlife.com/secondlife/Serena%20Pontypridd/145/82...
EXHIBITION | EBOOK | CONTEMPORARY BALLET
----
Visit The Carbone Gallery
Art gallery and dance company
Read Milena Carbone's Second Life stories on Medium
Web : The Carbone Gallery News
Une sortir pour aller à la rencontre d'un oiseaux très rare au Québec. Merci beaucoup pour vos visites et commentaires ♥ Cet oiseau mystérieux, appelé “merle vert” (Turdus virens) en 1758 par Linné, se reproduit entre le sud du Canada et le centre du Mexique. Il hiverne depuis le centre du Mexique jusqu’au Panama. C’est un emplumé qui aime la végétation basse et dense et qui évite donc la forêt fermée. Il est souvent commun dans les boisements et forêts jeunes (y compris pinèdes) ou ouvertes qui accueillent beaucoup de sous-bois ainsi que tous milieux avec des buissons denses et nombreux ; il se satisfait de régions humides autant que de zones arides. L’ictérie se porte bien et profiterait même de la déforestation pour augmenter. À l’instar du Rossignol philomèle en Europe, elle a une voix remarquable, mais parvenir à la voir est notoirement difficile. Elle mange des insectes, des araignées et des fruits qu’elle trouve dans la végétation basse, sur le feuillage et au sol. Le nid est installé bas (environ un mètre du sol) dans un massif de buissons denses. La femelle construit seule un “bol” massif avec des fibres d’écorce, des feuilles, des tiges, des pétioles ; elle tapisse ensuite de matériaux plus doux (radicelles, aiguilles de pins, poils, etc.). Elle couve seule ses 3 à 5 œufs durant 11 ou 12 jours et les jeunes, nourris par les deux parents, s’envolent très vite (généralement 9 jours). Taxonomie et sous-espèces En 1807, Vieillot comprenant que ce n’est pas un merle, a créé le genre Icteria spécialement pour elle mais la classification dans une famille ou une autre reste un problème depuis toujours. Originellement incluse aux Turdidae (grives et merles) puis aux Thraupidae (tangaras), elle avait atterri dans Parulidae (parulines) il y a déjà bien longtemps où elle est restée des dizaines d’années. On la qualifiait toutefois de “paruline aberrante“. Les première études génétiques ont vite montré que notre ictérie n’était pas une paruline mais sans fournir une famille à laquelle elle est indiscutablement apparentée. Elle serait plus proche des Icteridae que de toute autre famille décrite et on peut imaginer que Vieillot y avait pensé lorsqu’il a inventé le genre Icteria. Toutefois, cette proximité est toute relative, et certains auteurs estiment qu’elle est insuffisante pour inclure l’ictérie aux Icteridae. C’est ainsi que Cornell University (voir sa page dans “Birds of the World”) la classe dans sa propre famille monotypique. Avec le genre Icteria, le radical est Icteri- ; sachant que toute famille doit recevoir le suffixe -idea le nom de la famille devient Icteriidae. Cela prête évidemment à confusion pour le lecteur inattentif… Ce classement ne fait pas l’unanimité. De façon sans doute plus cohérente, John Boyd propose de classer l’ictérie dans les Icteridae (avec un seul “i”, famille issue du genre Icterus (Icter- et -idae = Icteridae). Elle devient alors basale de toute la famille. C’est cette approche que nous avons choisie ici.
Hace tiempo, un par de meses tal vez, que me pica un gusanillo. Que siento un gru gru en mi interior que me empuja a lanzarme a hacer un 52 semanas de selfies. Pero no sé. No estoy segura. No quiero empezar algo que no sé si podré acabar. No sé si tendré la constancia suficiente como para sacar tiempo y amoldarme a la exigencia de un proyecto así. No sé si tendré la creatividad suficiente como para tener ideas cada semana. No sé si seré capaz de crear un proyecto coherente, un todo, con un hilo conductor y un estilo y no una amalgama de 52 fotos con una única cosa en común, mi presencia. No sé si me gustará verme semana tras semana, reflejada en una pantalla y a través de los ojos de otros, porque estoy en un momento de mi vida en el que no me siento demasiado a gusto con mi cuerpo.
No sé, si precisamente por todo esto, debería hacerlo. Así que de momento dejo aquí esta foto, sin título, sin número, sin compromiso…y veamos.
Gracias por tu visita./Thanks for visiting.
Research from QphoX, Rigetti, and Qblox Demonstrating Optical Readout Technique for Superconducting Qubits Published in Nature Physics
GlobeNewswire
DELFT, The Netherlands and Berkeley, Calif., Feb. 11, 2025 (GLOBE NEWSWIRE) -- QphoX B.V., a Dutch quantum technology startup that is developing leading frequency conversion systems for quantum applications, Rigetti Computing, Inc. (RGTI.NaE) , a pioneer in full-stack quantum-classical computing, and Qblox, a leading innovator in quantum control stack development, today announced that their joint research demonstrating the ability to readout superconducting qubits with an optical transducer was published in Nature Physics.
Quantum computing has the potential to drive transformative breakthroughs in fields such as advanced material design, artificial intelligence, and drug discovery. Of the quantum computing modalities, superconducting qubits are a leading platform towards realizing a practical quantum computer given their fast gate speeds and ability to leverage existing semiconductor industry manufacturing techniques. However, fault-tolerant quantum computing will likely require 10,000 to a million physical qubits. The sheer amount of wiring, amplifiers and microwave components required to operate such large numbers of qubits far exceeds the capacity of modern-day dilution refrigerators, a core component of a superconducting quantum computing system, in terms of both space and passive heat load.
A potential solution to this problem may be to replace coaxial cables and other cryogenic components with optical fibers, which have a considerably smaller footprint and negligible thermal conductivity. The challenge lies in converting the microwave signals used to control qubits into infrared light that can be transmitted through fiber. This is where microwave-to-optical transduction comes into play, a field dedicated to the coherent conversion of microwave photons to optical photons. QphoX has developed transducers with piezo-optomechanical technology that are capable of performing this conversion, forming an interface between superconducting qubits and fiber-optics.
To demonstrate the potential of this technology, QphoX, Rigetti and Qblox connected a transducer to a superconducting qubit, with the goal of measuring its state using light transmitted through an optical fiber. The results of this collaborative effort have been published in Nature Physics. Remarkably, it was discovered that not only is the transducer capable of converting the signal that reads out the qubit, but that the qubit can also be sufficiently protected from decoherence introduced by thermal noise or stray optical photons from the transducer during operation.
"Microwave-to-optics transduction is a rapidly emerging technology with far-reaching implications for quantum computing. Our work demonstrates that transducers are now ready to interface with superconducting qubit technology. This is an exciting and crucial demonstration, with the potential for this technology being far reaching and potentially transformative for the development of quantum computers,” says Dr. Thierry van Thiel, lead author of the work and Lead Quantum Engineer at QphoX.
“Developing more efficient ways to design our systems is key as we work towards fault tolerance. This innovative, scalable approach to qubit signal processing is the result of our strong partnerships with QphoX and Qblox and showcases the value of having a modular technology stack. By allowing our partners to integrate their technology with ours, we are able to discover creative ways to solve long-standing engineering challenges,” says Dr. Subodh Kulkarni, Rigetti CEO.
“Realizing industrial-scale quantum computers comes with solving several critical bottlenecks. Many of these lie in the scalability of the readout and control of qubits. As Qblox is entirely focused on exactly this theme, we are proud to be part of this pivotal demonstration that shows that QphoX microwave-to-optical transducers are a solid route to scalable quantum computing. We look forward to the next steps with Rigetti and QphoX to scale up this technology,” says Dr. Niels Bultink, Qblox CEO.
About QphoX
QphoX is the leading developer of quantum transduction systems that enable quantum computers to network over optical frequencies. Leveraging decades of progress in photonic, MEMS and superconducting device nanofabrication, their single-photon interfaces bridge the gap between microwave, optical and telecom frequencies to provide essential quantum links between computation, state storage and networking. QphoX is based in Delft, the Netherlands. See www.qphox.eu/ for more information.
About Rigetti
Rigetti is a pioneer in full-stack quantum computing. The Company has operated quantum computers over the cloud since 2017 and serves global enterprise, government, and research clients through its Rigetti Quantum Cloud Services platform. In 2021, Rigetti began selling on-premises quantum computing systems with qubit counts between 24 and 84 qubits, supporting national laboratories and quantum computing centers. Rigetti’s 9-qubit Novera™ QPU was introduced in 2023 supporting a broader R&D community with a high-performance, on-premises QPU designed to plug into a customer’s existing cryogenic and control systems. The Company’s proprietary quantum-classical infrastructure provides high-performance integration with public and private clouds for practical quantum computing. Rigetti has developed the industry’s first multi-chip quantum processor for scalable quantum computing systems. The Company designs and manufactures its chips in-house at Fab-1, the industry’s first dedicated and integrated quantum device manufacturing facility. Learn more at www.rigetti.com/.
About Qblox
Qblox is a leading provider of scalable and modular qubit control stacks. Qblox operates at the frontier of the quantum revolution in supporting academic and industrial labs worldwide. The Qblox control stack, known as the Cluster, combines key technologies for qubit control and readout and supports a wide variety of qubit technologies. Qblox has grown to 130+ employees and continues to innovate to enable the quantum industry. Learn more at www.qblox.com/.
Quiero que te des cuenta ya. Quiero que veas como mi corazón estalla cada vez que me miras. Quiero que comprendas porqué mi boca no es capaz de decir nada coherente cuando estás cerca.
Quiero que sepas que muero por saborear tus labios, por rozar tu piel. Deseo perderme en tu mirada, en tu alma pura. Quiero pasar todas mis noches a tu lado, perdernos en las sabanas y abrir las puertas del cielo. Deseo poder dormirme en tu regazo, poder tocar tus manos; poder sentir como nuestras miradas danzan desnudas en medio de una noche sin luces, sin ruidos, sin gente, sin nada.
Quiero que llegue ese día. Cuento las semanas, los dias, las horas, los minutos e incluso los segundos para que todo ocurra; rápido o lento, no importa.
Quiero que las tenues luces de las velas rojas , que casi parecen no existir y que parpadean de excitación, nos envuelvan otorgándonos su mejor calor.
Quiero que la luna nos alumbre, suavemente, para poder apreciar tu magnífica piel de plata. Para que encienda mi alma dormida y se una a la tuya. Mezclándose, poco a poco, sintiendo cada momento, notando cada sensación.
Solo quiero que te des cuenta de que yo podría hacerte sentir eso y más. Que podría enseñarte la llave de la felicidad e incluso de las mayores maravillas de este mundo.
Solo quiero que comprendas que he nacido para hacerte feliz, que he nacido queriendote incluso cuando aún no tenía corazón ni tenía consciencia.
Solo entiéndelo.
Compréndelo y hazme saber tus sensaciones, tus escalofrios, tus emociones, tus miedos y temores...
Sólo dime que me quieres.
Come one, come all!
If any of you can make it or are planning to be in Paris between November 3rd and December 24th, well, I would be delighted if you stopped by. If you know you will come, well tell me :)
If you feel like spreading the word well that would help.
If you would like to use this image without my consent on blogs or social media, well as opposed to my other images, GO FOR IT!
For all those who can not make it, I will post them in due course.
I would like to thank:
- my gallerists Jessy and Alec Sellem (JAS Gallery),
- Tony, a fantastic photographer, for his assistance, his help, his chicken curry and friendship…and also for saving one of my expeditions (see below donation)
- my loving family for dealing with me
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Last year I set off to venture on a photographic quest for 6 weeks in Patagonia and the Altiplano. I came back with more questions than answers, as well as a few full hard drives.
Where was my photography headed, why was I photographing in the first place, what was the purpose of my photographs?
In June 2010, I set off to discover Iceland and on my first night there, took "THIS" picture and it hit me like a boomerang.
My subject had found me and I decided that I wanted a body of work and that eventually I wanted to exhibit it. Sixteen months later, that day has come, after:
- six trips
- 40 days of shooting one single subject
- one dead Macbook which died the same morning as my backup drive (that is when I was happy to have a third backup for unprocessed RAWs), two recovered CF cards (phew)
- donating one D3X camera and 24-70 to a treacherous sea
- countless days and nights of selecting the images, developing and printing them
-etc
Narrowing those pictures down to the 23 which will be exhibited has been a painful exercise as if all others were condemned to numeric oblivion. Boiling it down to 100 processed images was OK, getting from 100 to 46 started to become a challenge, getting from 46 to 28 a nightmare and from 28 to 23 anyone's best guess (almost). A fair number of pictures that did not make it, deserve a life, but for reasons of coherency or redundancy, just did not belong in this exhibit. I feel better for those pictures now, having said this. Rest in peace.
Foto realizada en la casa del poeta Alberto Girri para la revista JANO.
Copyright © Susana Mulé
All rights reserved.
Do not use this photographs without my consent. If you are interested in this picture, please contact me. Thanks.
susanamul@yahoo.com.ar
Alberto Girri. Poeta y traductor argentino nacido en Buenos Aires en 1919.
Pertenece a la generación de los años cuarenta, aunque su estilo único y personal, no encaja en algún movimiento especial, razón por la cual, recibió grandes elogios y provocó rechazo de algunos sectores debido a su lenguaje a veces incomprensible y extremadamente intelectual.
Es autor de más de treinta volúmenes de prosa y poesía entre los que se destacan: Coronación de la espera en 1947, Poemas elegidos en 1965, Los valores diarios en 1970, Poesía de la observación en 1973, El motivo es el poema en 1976, Páginas de Alberto Girri en 1983 y Juegos alégoricos en 1993.
Tradujo a numerosos poetas ingleses y estadounidenses, tales como T. S. Eliot, Wallace Stevens, Robert Frost , John Donne y William Carlos Williams.
Falleció en 1991. © amediavoz.com/girri.htm
Que tu mirada vaya..
Alberto Girri.
Que tu mirada vaya
dejando de separar
impresiones sensibles, afectivas,
de las meras formas,
y resbale, no coherente,
a despojar de relieve lo que encuentre,
indicaría cómo pierdes
el dominio sobre ella,
paralizado también
tu cuerpo en lo que hasta ahora fue:
manifestación y participación,
y en suspenso
la rutina del hablar y el pensar,
la exigencia de que hablar
y no pensar no se puede,
ni pensar callando.
Y más aun haría patente
un empezar a abandonarte
a lo suelto y espontáneo
como viento, como corriente,
viento y corriente,
no ya situaciones fijas, inmovilidad objetiva,
no ya dilemas,
sino un calmo estar
en el que te permitas verte
cazando pájaros con redes,
liebres con gestos,
irreflexivamente.
De la estación abandonada de Canfranc, en Huesca, una fotografía de Lightpainting.
La importancia de la coherencia en este tipo de fotografías en muy importante.
Bac Ha (Vietnam) - Quand on souhaite réaliser une série de photos cohérente, il faut éviter les doublons. Pour un sujet tel que le marché aux buffles de Bac Ha, on a de grandes chance de refaire cent fois la même photo, même si les éléments qui la composent ne sont pas les mêmes ; d’où la nécessité de multiplier les angles et les prises de vues
Oui, il est recommandé de multiplier les prises car on n’est jamais à l’abri d’un élément parasite qui s’invite dans le cadre et réduit à néant la composition.
A l’inverse, il arrive que le hasard soit un allié. Sur cette photo, l’élément positif inattendu est la femme avec son seau à droite à l’arrière-plan. Malgré sa présence anecdotique, elle équilibre la composition. Mais le fait qu’elle soit la seule à être consciente de ma présence, attire le regard. Malgré son « éloignement », elle est pour moi, l’élément le plus présent.
The Woman with a Bucket
Bac Ha (Vietnam) - When you want to create a coherent series of photos, you must avoid duplicates. For a subject such as the Bac Ha buffalo market, there is a good chance of taking the same photo a hundred times, even if the elements that compose it are not the same; hence the need to multiply the angles and shots.
Yes, it's recommended to multiply the shots because you're never safe from a stray element that might enter the frame and destroy the composition.
Conversely, sometimes chance can be an ally. In this photo, the unexpected positive element is the woman with her bucket on the right in the background. Despite its anecdotal presence, it balances the composition. But the fact that she's the only one aware of my presence draws the eye. Despite its “remoteness”, it is for me, the most present element.
.
Halmtorvet (English: The Haymarket) is a public square in the Vesterbro district of Copenhagen, Denmark. It is located next to Copenhagen Central Station in front of the Meat District. The oblong square eventually turns into Sønder Boulevard, a broad street with a park strip in its central reserve, which continues to Enghavevej at Enghave station.
Copenhagen's haymarket was originally located just inside the Western City Gate where the City Hall Square lies today. It closed on 1 January 1888 and relocated to the area outside the new Livestock Market which had opened at the site in 1879. Market days were Wednesday and Saturday and up to several hundred loads of hay and straw were traded and distributed to cattle and horse stables around the city.
Up through the 20th century, with improved infrastructure, livestock moved out of the city and horses lost their role in transportation, and the haymarket finally closed. The area fell into despair and became associated with prostitution and drug dealing. The site was also dominated by through traffic, buses and goods transport.
The area underwent gradual gentrification up through the 1990s and Halmtorvet was thoroughly refurbished from 1999 to 2003 as part of a major programme for urban renewal in the Vesterbro area. The first stage was designed by the office of the City Architect and completed in 2000. The second and third stages were designed by the Park Office of the City and carried out in 2003. In order to obtain a coherent space in the area a large gas regulator in front of the Brown Meat District was removed.
Wikipedia
Our wedding will be in 9 days and I feel like a teenager. I feel nervous, I feel moved, I feel so happy, and I feel a little scared from the depth of emotions I am reaching. I used to be a bit of a cynical about marriage. But since I met Yanko, when I discovered that human connection can be healthy, based on trust and comple and constant love attacks, the idea of joining my life with someone including a little ritual to celebrate it seems like a very nice and coherent thing to do.
Each day, I thank life for being so fortunate. I love Yankos company, I love to run to him when I need a hug, I love to wake him up in the morning with a greeting which expresses so much love you would think I had been travelling abroad for months and suddenly I appear there to greet him. His innocence and his incredible aura of peace and love keep me sane, keeps me so strong and keeps me so inspired.
Thanks so much my love, for being there.
I love you,
Emi
La disputa del Sacramento es una pintura del artista Rafael Sanzio (1483-1520). Fue pintada en 1509, siendo el primero de los frescos con los que decoró las habitaciones que hoy en día son conocidas como las estancias de Rafael, ubicadas en el Palacio Apostólico de la Ciudad del Vaticano y que forman parte de los Museos Vaticanos. La Sala de Firmas (Stanza della Segnatura) fue la primera en ser decorada, y La disputa del Sacramento la primera pintura en ser finalizada.
La anchura en la base del fresco es de 770 cm. Representa la Teología, a través de una escena sobre la Gloria de la Eucaristía.
Es el pintor Giorgio Vasari el que da este nombre a la obra, un poco impropiamente, dado que parece aludir a un conflicto teológico, es decir, un intenso debate, que podría darse en el registro inferior, pero en cambio el registro superior funciona más como una glorificación de la Iglesia celestial triunfante. El título de la obra bien habría podido ser El triunfo de la Iglesia. El término "disputa", en el italiano de la época, se entendía como "discusión": no tiene por ello significado de divergencia y enfrentamiento entre las personas que discuten.
El fresco pretende representar en pintura lo que se podría llamar la Verdad teológica, frente a la Verdad filosófica que personifica el fresco de la Escuela de Atenas que queda enfrente. En la tradición cristiana esta Verdad teológica se personifica en la eucaristía, gesto de sacrificio sacramental en el que se hace realmente presente el sacrificio de acción de gracias de la persona de Jesucristo, legado a sus discípulos en su memoria poco tiempo antes de su pasión. Por lo tanto, todo el servicio de la Iglesia de Cristo sobre tierra gira en torno a este acto supremo, como medio de redención y también de relación con un Ser Divino (la Trinidad), que incluye en comunión con Sí Mismo a las potencias celestiales y a los santos en todas las épocas. Es pues esta realidad teológica compleja la que Rafael pretende representar en este fresco que debe ser, dado que se destina a la oficina y a la biblioteca del papa Julio II, un apoyo a la contemplación del misterio de la Iglesia sobre tierra y en los Cielos.
En la parte superior está representada la "Iglesia triunfante", esto es, santos y apóstoles, con Jesucristo en el centro, flanqueado por María y Juan el Bautista.
En la parte inferior está la "Iglesia militante", en la cual figuran teólogos, doctores y papas, pero también filántropos y literatos
En la parte inferior aparece la Iglesia como institución que custodia la Eucaristía y milita en defensa de la fe.
Hay un altar sobre el que está la custodia en la que se expone la Eucaristía.
A ambos lados aparecen teólogos y doctores de la Iglesia debatiendo la transubstanciación, esto es, la presencia real del cuerpo de Cristo en la Eucaristía.
Algunos padres de la Iglesia llevan nombres escritos en su aureola, son los doctores antiguos, que se encuentran sentados, a diferencia de las demás figuras, lo que les acerca a los personajes situados en los cielos: Gregorio Magno, Jerónimo de Estridón, Ambrosio de Milán y Agustín de Hipona. A san Gregorio, Rafael le dio los rasgos de Julio II. San Jerónimo está acompañado por un león. A san Agustín le acompaña la figura de un bello joven como secretario o amanuense, rasgo típico de Rafael, que aprovecha cualquier oportunidad para introducir figuras de mancebos, exponentes de juventud y belleza.
Se distingue a dos doctores de la iglesia posteriores, Tomás de Aquino y Buenaventura. Igualmente se distingue atrás de Ambrosio de Milán y el personaje que señala al cielo, al hoy beato Juan Duns Scoto.
Hay otras figuras identificadas. Así, el papa Inocencio III (1160-1216), el papa más poderoso de la Edad Media y que estableció la independencia política de Roma. El papa Sixto IV (1414-1471, de nombre Francesco Della Rovere, que embelleció significativamente Roma, aparece en la parte inferior de la pintura, vestido de dorado. Estos papas se codean con religiosos como Savonarola, instigador en 1494 de una revolución política y moral en Florencia con la vuelta a la República y la recristianización de la sociedad. Probablemente Rafael quiso incluirlo para homenajear su intento de moralizar Florencia con la predicación y construir así una nueva Jerusalén, a pesar de que este intento fallase y le costase la vida. Directamente detrás de Savonarola queda Dante Alighieri, cuya Divina Comedia influyó en la teología medieval, vestido de rojo y con una corona de laurel (simbolizando su grandeza como escritor). Muy cerca del altar aparece el hoy también beato pintor Fray Angélico, admirado por sus frescos y pinturas sublimes.
En la esquina de la izquierda hay un personaje calvo que lee un libro por encima de una balaustrada. Es el mentor de Rafael y famoso arquitecto renacentista autor de la basílica de san Pedro, Bramante; fue, por decirlo así, protector además de gran amigo del pintor, y Rafael obtuvo el encargo de las salas vaticanas gracias a él, que en la práctica lo recomendó al papa Julio II, en lugar de, por ejemplo, Miguel Ángel. A su lado, Francesco Maria della Rovere está presentado con rasgos similares a los de Leonardo da Vinci. Señalan el Santísimo Sacramento con un gesto ligero y gracioso.
Ha de observarse que los personajes están dispuestos a una distancia variable con relación al Santísimo Sacramento, que es la presencia de Dios sobre la tierra, el punto de contacto entre las dos Iglesias, terrestre y celestial. Los doctores de la Iglesia son los que están más cerca, se sientan ante el altar, mientras que las otras figuras esenciales de la historia de la Iglesia están un poco más retiradas, de pie, pero siempre orientados hacia el altar; finalmente, los artistas laicos y otros personajes quedan a los lados, con posiciones más ambivalentes, inclinados o incluso de espaldas, representando así la diversidad de la relación con Dios sobre tierra.
La escena es muy animada, y si la interpretación un poco inexacta de Vasari habla de conflicto, se ve que el término no es totalmente inadecuado para caracterizar la atmósfera que éste interpreta del registro terrestre del fresco. Lejos de la Sacra conversación, cuyo intercambio es más de orden místico que intelectual, los personajes parecen aquí ocupados intercambiando observaciones, gesticulando, señalando al cielo, a otros personajes o al Santísimo Sacramento, o también concentrando su atención sobre algunos escritos. La intención es aquí sin duda representar la intensa actividad teológica de definición y de teorización del misterio que constituye el Sacramento. Los numerosos libros representados participan ciertamente así de este esfuerzo de elaboración conceptual que encarna la Iglesia militante, y del cual es continuador el pontífice Julio II, para quien que se pinta esta obra.
ComposiciónLa pintura es un fresco, con todas las dificultades de ejecución que ello conlleva.
Rafael debe en este caso actuar sobre una superficie que tenía una forma inusual: la pared no es cuadrangular, y presenta la dificultad de tener un arco en la zona superior y además, de que en la parte inferior a la derecha, se abriera una puerta. Rafael pintó en el fresco una ménsula, con la cual recuperar la simetría.
Destaca de este fresco, sobre todo, su hábil composición, indicando la doble presencia de la Eucaristía tanto arriba, en el cielo, como abajo en la tierra. Es el modelo de composición académica por antonomasia. Como señala José Pijoán (1951):
Las curvas del hemiciclo del cónclave en lo alto se corresponden con las de la zona inferior; los volúmenes de los grupos de figuras se compensan sin ser exactamente simétricos. El dinamismo de algunos personajes se resuelve en el conjunto. Será esto sólo intelectual y técnico, pero es admirable sin vacilación.
El fresco se enmarca en una bóveda y propone, como la mayoría de las obras de Rafael, una composición rigurosa que explota juiciosamente la forma en arco de círculo que la acoge, puesto que el motivo circular es omnipresente en la obra.
Se encuentra, ante todo, en la custodia que se encuentra en el punto de fuga, objeto de la disputa, el Santísimo Sacramento, presente sobre el altar. Constituye el centro del círculo por el cual pasa el semicírculo de la bóveda, lo que confirma su estatuto de tema de la obra, luego se lo encuentra en la aureola en torno a la paloma, símbolo tradicional del Espíritu Santo, en la gran aureola de Jesucristo, en forma de un globo en la mano del Padre, apareciendo al mismo tiempo sobre la mayoría de los santos en aureola a su cabeza; por último, se coloca a los santos y las grandes figuras del Antiguo Testamento en arco de círculo alrededor de la Trinidad, mientras que el cielo está formado por una extensa bóveda celeste luminosa que hace eco en inversión al círculo que rodea el Cristo.
Esta omnipresencia de la forma circular se explica porque la superioridad ontológica y la perfección del círculo responden no sólo a una tradición antigua, sino también cristiana y más concretamente del Renacimiento que ve en el círculo la forma geométrica más realizada. Se pueden ver también en esta preocupación de la disposición circular elementos en la pintura como el coro de una iglesia, el altar y el sacramento que forma tantos elementos para sugerir eso.
La composición busca además la distinción teológica entre el cielo y la tierra, mediante este criterio de diferenciación que es la presencia de la forma circular. En efecto, si el círculo es omnipresente en los cielos, acompañado por una armonía señalada en la distribución de las figuras "de la Iglesia que triunfa", que reúne profetas, a apóstoles y a santos alrededor de la Santísima Trinidad, en cambio la parte baja del cuadro se organiza de manera horizontal, y los personajes de «la Iglesia militante», doctores de la Iglesia, pontífices y fieles, se reúnen con bastante menos coherencia y armonía, incurriendo incluso en el tumulto y la animación. Se puede por otra parte reconocer numerosas figuras entre estos personajes dispuestos por una y otra parte un altar que domina un extenso paisaje: todos enarbolan posiciones singulares, indicando la preocupación de Rafael por una cierta naturalidad.
Cuenta la obra, de todas formas, con otros atractivos añadidos que ya señaló el mismo Pijoán, como la caracterización de las figuras, la variedad de los tipos, la frescura del color, riquísimo y claro.
La Adoración de la Trinidad, de Alberto Durero, tiene una composición que recuerda a esta Disputa del Sacramento, obra que Durero no pudo conocer, dada la fecha en que se comenzó. En realidad, esta interacción entre elementos circulares y geométricos que se ve en ambas obras no es más que una forma «clásica» a la que tendía toda la pintura de la época, partiendo de la pintura renacentista italiana.
Chapter 12
It was another late night pouring over images; deleting, cataloging, organizing, choosing submissions - 'the workflow'. I hate the workflow. It was 3 am and I'd been fighting to stay awake for a while now. I was about to call it quits for the night, when I heard a soft melody drifting, somewhere in the background. From the flat next-door? And a faint yet pugnent smell of... what was that?... incense? massage oil and sweat?? Perfume?
Then... over my shoulder, the sound of a whisper I couldn't make out. I turned. "Sally! What... how did... what happened to you? Where were you..."
"You know", she said. It was her voice, but with an eerie, far away tone I'd never heard before. "I've been here" she continued, "right here".
"What... what do you mean? I... I don't understand" I stammered.
"Silly, silly, boy" she giggled. "I'm not real" she said. "You know that, right?"
"But... but I... we... our photos... our sessions..." my head began to spin.
"Il-eona!" she replied.
"What? I... "
"Il-eona... iliwa. Weikeu... weiku. Dangis-i gaya" I heard her say, her voice changing to a slightly higher pitch, and taking on a hypnotic, melodic twang"
"I don't und..." I said, as the music grew louder and louder - drowning out my voice... my thoughts. The music. An oddly familiar tune. Where had I heard it before??
Chapter 13
My head still spinning, I closed my eyes tightly. The music... the sounds and smells... so familiar. But how?
And where was I? I was in my flat, looking through shots from earlier in the week... wasn’t I?? I felt a hand on my upper arm... a gentle shake and “Weikeueob! Wake up!” in that same musical, hypnotic, woman’s voice. And in a short, curt but sweet broken English “time to go now.”
I opened my eyes and tried to focus them in the smokey, dimly lit room. There - my clothes, lying crumpled in the corner. A snuffed out candle, burnt low. A tattered, heavy, velvety-red curtain covering a small window, hazy wisps of light peaking around the edges to bathe the dusty air. A table cluttered with incense, an empty absinthe bottle, oils, small drinking glasses one of them stained with lip stick, some scattered powders and substances I didn’t recognize, a thin red veil covering jars of some mysterious, exotic substances. A ledge with a small lamp, a crystal vase and some ornaments and knickknacks... a few Halloween decorations scattered throughout. I looked up, into the beautifully large, dark eyes or the oriental-looking girl standing over me. “S... Sally?” I said, in my confusion. “Yes, me Sally” she said, showing her smile. “We have fun, but you... too much. Too much fun - no good. Too much no good. You understand? Only little fun.” she said, gesturing with her thumb and forefinger. “Umm... I...” was all I managed, grasping to make sense of something that, at least to me, made none at all. Remember, I told myself. Remember. I closed my eyes again trying to remember and relive, to make sense of the past days.
When I opened my eyes again I was someplace different. A bed. Crisp white sheets. Everything is so white. There’s something...in my arm. An I.V. A hospital. I’m in a hospital bed. There’s a voice “Doctor - come quick. He’s conscious”. A tall, thin man rushed into the room, dressed all in white. “I... where am I?” I ask. “You’re at College Hospital” he said. “Can you tell us what happened to you? Some passer-byes found you, in the streets, delirious, wearing clothes obviously not yours. They brought you here. Do you remember anything? Anything at all??”
Remember. “Sally” I said softly. “Sally” I whispered, as I closed my eyes... for the last time.
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First - apologies. I started this as a 365. But when I added the story, it began to write itself... including the ending. Thanks to those who took the time to view the images and read the text.
The story is a tribute to 2 great creative artists: Tim Burton and Edgar Allan Poe.
In the spirit of Halloween, and if you have time, I hope you’ll watch a Tim Burton movie and get lost in his magical world of crazy but relate-able characters. Or that you’ll read a story from the genius imagination of Poe, or read about his mysterious death (of which the ending of this series is based).
Edgar Allen Poe died this month (October 7th) in 1849. He was found delirious in the streets of Baltimore, taken to hospital, and never regained coherency (or perhaps only briefly) before his death. How he spent his last five days, how he came to be in such a state, why he wasn’t wearing his own clothes, his cryptic calling out for “Reynolds” during the night, and even the cause of his death, remains a mystery and source of much speculation and theory, even to this day.
******* Happy Halloween everyone! *********
P.S. - sorry for running behind (it’s been a busy time, and a challenge just to get the daily image posted). I will catch up viewing everyone photos and comments soon!
The castle Gartrop is a moated castle in the Hünxer district of Gartrop-Bühl. The castle arrangement lies near the country road between Hünxe and Schermbeck-Gahlen in the lip meadows in the southern area of the nature reserve high Mark-Westmünsterland. From the settlement of the former castle employee the today's place Gartrop developed.
The arrangement can be visited every second Thursday within the scope of events of the country inn resident there.
The plastered mansion in the strict style of the Dutch baroque is surrounded on three sides by a pond-like moat. In the 2-storey construction structural fabric of the first castle house from the 14th century is still included.
Four wings of the building surround a narrow inner courtyard which is roofed with a view dome. Besides, the eastern one and the western wing are shorter than remaining both and come out risalitartig of the construction body. The main entrance is in the biaxial east wing with a low watch tower which is concluded by an embowed bonnet with open lantern. Other three tracts of the simple construction own in each case a level hipped roof with small dormers.
7-stage steps lead to the main entrance from sandstone which is flanked by two half columns which run out on top in obelisks with ball handle. About the entrance the stone alliance coat of arms Albrecht Gisberts of Hüchtenbruck and his first Mrs. Johanna Katharina von Heiden as well as his second Mrs. Agne Maria von Bernsau is found.
Moreover, the annual number 1675 tells of the end of the construction time under Albrecht Gisbert son Albert Georg von Hüchtenbruck.
The most important space of the mansion is a big baroque hall in the ground floor which is developed to the Beletage. He owns a luxuriously formed relief stucco cover which is together with an alike formed copy in the castle Anholt incredibly on the Lower Rhine. Moreover, he owns a colourfully calm Lambris with about that to hanging, painted wall strings and a rococo chimney of marble which is up to height of the cover wood.
Nevertheless, central centre is the former inner courtyard which was reshaped by a roofing to a 2-storey hall. She serves with her pilasters as a Vestibül and stairwell. From there all rooms of the mansion are accessible. Their creation partially occurred in Dutch, partly in the classicistic style.
Old wall strings – the so-called Gartroper chinoiseries – were discovered in progress by restoration works from 2005. Besides, it concerns nine coherent canvases of 3.5-metre height and 80-to 98-centimetre width. On silvery gleaming, green ground with flowers and tendrils paintings they show the plants which are populated by exotic birds and in Chinese inspired scenes with women and children. Findings point to the fact that the strings come from the big baroque hall, because they well fitted to the green wooden version at that time of the space. Later the wall disguising was transferred in a smaller cabinet which was converted in the course of the time into a kitchen, so that the canvases disappeared, besides, under a wallpaper from the early days.
The Gartroper chinoiseries are especially valuable in her form and quality and incredibly in the space from the Lower Rhine. Merely in Potsdam teahouse of Friedrich II. comparable is found. Models for the wall strings very much popular in the 18th century in the Chinese style are rococo paintings as for example from Antoine Watteau and François Boucher.
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S. wanted to paint after finishing homework, and of course the little one wanted to join in. After using brushes for a while, S decided she would paint her hand to make a print, and the little one wanted me to paint her hand too. This is one of the results.
So many mixed feelings, from gratitude to be able to go about our days in our usual rhythm, to wondering what the future holds. It feels too much to be able to put into something coherent.
Catedral de Sant Pere i Sant Pau de Nantes, França.
FRANÇAIS
La cathédrale Saint-Pierre-et-Saint-Paul de Nantes (appelée aussi localement « cathédrale Saint-Pierre ») est une cathédrale catholique située place Saint-Pierre, à Nantes (Loire-Atlantique). C'est la cathédrale du diocèse de Nantes, siège de l’évêque de Nantes. Sa construction s’est étalée sur 457 ans, de 1434 à 1891, mais ces délais n’altèrent en rien la qualité ni la cohérence de son style gothique. Elle est classée monument historique depuis 18622.
La cathédrale est touchée par les bombardements de Nantes, une bombe atteignant en 1944 la sacristie de la cathédrale et endommageant considérablement l’abside et trois chapelles. Durant les travaux de restauration, un incendie accidentel se déclare le 28 janvier 1972, détruisant la plus grande partie de la toiture. La restauration de l'édifice dure jusqu'en 1985. Le 18 juillet 2020 un nouvel incendie, d'origine criminelle, détruit l'orgue du xviie siècle, le grand vitrail de la façade ouest posé en 1498, représentant la duchesse-reine Anne et sa mère, ainsi que divers éléments du mobilier.
Lorsque la cathédrale est en restauration pendant plusieurs années, les célébrations ont lieu à la chapelle Notre-Dame-de-l'Immaculée-Conception3.
Depuis le 11 août 2020 le siège épiscopal est tenu par Mgr Laurent Percerou.
CATALÀ
La catedral de Sant Pere i Sant Pau de la ciutat bretona de Nantes (França) va ser iniciada, sota la seva forma actual,l'any 1434, no donant-se fi a les obres fins a 1891. Aquest lapse tan important de construcció (un total de 457 anys) no ha suposat minvament de la qualitat ni de la coherència estilística de la catedral.
Va ser construïda en l'emplaçament de l'anterior catedral, que era d'estil romànic, i les restes del qual seran a poc a poc absorbits per la nova construcció gòtica.
La catedral de Sant Pere i Sant Pau és la seu de la Diòcesi de Nantes, i l'any 1862 va ser declarada pel Govern francès com compresa en la categoria de Monument històric.
WIKIPEDIA
Strobist: OlympusFL50 into ceiling @1/2. Powerlight1500SL into 40x40 softbox cam right @1/2/. Gridded softbox.
"What is important to my work is the individual picture. I photograph stories on assignment, and of course they have to be put together coherently. But what matters most is that each picture stands on its own, with its own place and feeling."
- Steve McCurry
McCurry's most recognized photo is that of "Afghan Girl," a previously unidentified Afghan refugee. The image itself was named as "the most recognized photograph" in the history of the National Geographic magazine and her face became famous as the cover photograph on the June 1985 issue. The photo has also been widely used on Amnesty International brochures, posters, and calendars. The identity of the "Afghan Girl" remained unknown for over 15 years until McCurry and a National Geographic team located the woman, Sharbat Gula, in 2002.
Photographers are artist just as painters are, instead of a brush they use a camera.
Or if you are me you use a camera, lots of lights, reflectors, filters, gels, photoshop, and Flickr :)
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I Teach Photoshop online to people all over the world, if you like my work, you will love the class.
The castle Gartrop is a moated castle in the Hünxer district of Gartrop-Bühl. The castle arrangement lies near the country road between Hünxe and Schermbeck-Gahlen in the lip meadows in the southern area of the nature reserve high Mark-Westmünsterland. From the settlement of the former castle employee the today's place Gartrop developed.
The arrangement can be visited every second Thursday within the scope of events of the country inn resident there.
The plastered mansion in the strict style of the Dutch baroque is surrounded on three sides by a pond-like moat. In the 2-storey construction structural fabric of the first castle house from the 14th century is still included.
Four wings of the building surround a narrow inner courtyard which is roofed with a view dome. Besides, the eastern one and the western wing are shorter than remaining both and come out risalitartig of the construction body. The main entrance is in the biaxial east wing with a low watch tower which is concluded by an embowed bonnet with open lantern. Other three tracts of the simple construction own in each case a level hipped roof with small dormers.
7-stage steps lead to the main entrance from sandstone which is flanked by two half columns which run out on top in obelisks with ball handle. About the entrance the stone alliance coat of arms Albrecht Gisberts of Hüchtenbruck and his first Mrs. Johanna Katharina von Heiden as well as his second Mrs. Agne Maria von Bernsau is found.
Moreover, the annual number 1675 tells of the end of the construction time under Albrecht Gisbert son Albert Georg von Hüchtenbruck.
The most important space of the mansion is a big baroque hall in the ground floor which is developed to the Beletage. He owns a luxuriously formed relief stucco cover which is together with an alike formed copy in the castle Anholt incredibly on the Lower Rhine. Moreover, he owns a colourfully calm Lambris with about that to hanging, painted wall strings and a rococo chimney of marble which is up to height of the cover wood.
Nevertheless, central centre is the former inner courtyard which was reshaped by a roofing to a 2-storey hall. She serves with her pilasters as a Vestibül and stairwell. From there all rooms of the mansion are accessible. Their creation partially occurred in Dutch, partly in the classicistic style.
Old wall strings – the so-called Gartroper chinoiseries – were discovered in progress by restoration works from 2005. Besides, it concerns nine coherent canvases of 3.5-metre height and 80-to 98-centimetre width. On silvery gleaming, green ground with flowers and tendrils paintings they show the plants which are populated by exotic birds and in Chinese inspired scenes with women and children. Findings point to the fact that the strings come from the big baroque hall, because they well fitted to the green wooden version at that time of the space. Later the wall disguising was transferred in a smaller cabinet which was converted in the course of the time into a kitchen, so that the canvases disappeared, besides, under a wallpaper from the early days.
The Gartroper chinoiseries are especially valuable in her form and quality and incredibly in the space from the Lower Rhine. Merely in Potsdam teahouse Of Friedrich II. comparable is found. Models for the wall strings very much popular in the 18th century in the Chinese style are rococo paintings as for example from Antoine Watteau and François Boucher.
"Our greatest glory is not in never failing, but in rising up every time we fail." R.W. Emerson.
Since I was a child I have visited the "Alcázar de Segovia" numerous times and I have always felt a great connection with this castle. Although it looks like a fairytale castle, there have been many dark moments that have almost destroyed it. The episode, that was nearer to get it, took place in 1862, a fire that reduced to ashes the historical building. Although the demolition of the ruins might seem to be the most coherent option, it was finally decided to rebuild it. And so, like a phoenix, it was reborn from its ashes to become the majestic and beautiful monument that we observe today.
I always imagined to photograph it in harmony at twilight, but when the day I took this photograph came, so many internal and external storms accompanied me, and moments after getting the photo, I ran down the slope to get shelter from the strong thunderstorm that was approaching.
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"Nuestra mayor gloria no consiste en no caer nunca, sino en levantarnos cada vez que caemos." R.W. Emerson.
Desde pequeño he visitado en numerosas ocasiones el Alcázar de Segovia y siempre he sentido una gran conexión con este castillo. Aunque parezca un castillo de cuento de hadas, han sido muchos los momentos de destrucción que han estado a punto de acabar con él para siempre. El episodio que más cerca estuvo de conseguirlo tuvo lugar en 1862, un incendio que reducía a cenizas el histórico edificio. A pesar de que derruir lo que había quedado podía parecer la opción más coherente, se optó finalmente por su reconstrucción. Y así, como un fénix, renació de sus cenizas para convertirse en el majestuoso y hermoso monumento que observamos hoy día.
Siempre imaginé fotografiarlo en armonía al crepúsculo, pero cuando llegó el día en el que realicé esta fotografía, tormentas tantos internas como externas me acompañaron, e instantes después de conseguir la foto tocó correr ladera abajo para ponerse a resguardo del fuerte temporal que se avecinaba.
Excerpt from www.mississauga.ca/arts-and-culture/arts/public-art/tempo...:
Immersion by Justyna Werbel is one of over 35 public artworks on display across the City of Mississauga. It is currently being exhibited on the third floor of the Living Arts Centre, just outside the main elevators.
Justyna Werbel
Digital illustration, printed on vinyl
2022
Immersion is a large-scale sound drawing, created using archived and recently recorded audio files from past and present events at the Living Arts Centre.
Amongst the drawing are the sounds of glass blowers clipping their work, the turning of the ceramic studio’s wheel, stage performers asking the crowd to inhale and exhale collectively, a group of boys break dancing in the front foyer after school, an audience erupting with loud clapping after a dance performance, the sound of feet repeatedly hitting the performance platform and a band rehearsing Aladdin’s ‘A Whole New World’.
The artist transcribes selected audio bits with precision similar to a musical score, while simultaneously allowing creative expression to combine multiple audio movements into one coherent composition. The score is then printed and placed on several panels of glass, allowing the lines to appear as if they are in mid-transition, a snapshot of a fleeting moment, a sound that has been captured passing in midair. This installation intends to transport and gently push the viewer into an otherworldly perception of sound; filled with interwoven forms and lines, an alternative interpretation of how we perceive the aural in a visual form.
I have often thought that the trouble with dreams or goals even is that they don't generally make a coherent mass and you wind up with clutter. This is a Tanguy painting dreamed up with, believe it or not, Del Sarto's The Madonna in Her Glory. In this case she seems to have given all the trucks in the sky. Odd, that.
The Arts Centre is one of Christchurch's most significant historic and cultural attractions and a Christchurch must visit.
The Arts Centre buildings, built between 1877 and 1923, were occupied by the University of Canterbury until it was forced through lack of space to move to a far bigger campus at Ilam.
Once the site of Canterbury University, these distinctive Gothic Revival buildings house more than thirty art galleries, craft studios and shops. You can also find Rutherford's Den where the great physicist carried out some of his first experiments. Architects, Benjamin Mountfort and Samuel Hurst Seager were principally responsible for the coherent set of Gothic Revival buildings which give the Arts Centre its character. Mountfort designed the clock tower block and the Great Hall on the corner of Worcester Boulevard. Hurst Seager, the other very prominent architect of the time, linked the buildings by cloisters and quadrangles to resemble the layout of a traditional English university.
The complex was damaged in the earthquakes and and has been repaired in stages.
Excerpt from art-partners.co/blog/public-art-5/colors-shapes-movements...:
This is the first exhibition of the Design Dullegil Special Exhibition, and this year we are joined by world-renowned artist Felice Varini, who turns everyday spaces into artworks. The Colors Shapes Movements exhibition presents four new works created by shapes and colors that constantly change according to the movement of visitors. The exhibition of the Design Dullegil spans 167 meters hand-painted by the artist.
Felice Varini, a Swiss artist based in Paris, creates hypnotising artworks that transforms ordinary spaces into paintings. For Seoul Light 2024, Varini produced four original artworks under the exhibition Colours Shapes Movements. His artworks, hand painted onto the walls, floors and ceilings of the Dongdaemun Design Plaza, depend on the viewers perception to be realised: “When the spectator stands in a given place, it is coherent. When the individual shifts from that point of view, an infinite number of perspectives of the form arise”. Inspired by the fluid architecture and hugging the curved interiors of the DDP, Varini’s exhibition is intended to be seen both as fragments and as a whole.
LA PLUS GRANDE CATHEDRALE PEINTE EN EUROPE : 18 500 m² de fresques et décorations en font la plus grande cathédrale peinte en Europe. Elle se lit comme une Bible illustrée.
À la fin de la première décennie du XVI e siècle, Louis II d’Amboise, évêque d’Albi, recrute pour orner sa cathédrale un atelier de peintres italiens venus de l’Émilie. Ils travaillent de 1509 à 1513 et font de Sainte-Cécile la plus grande église peinte de la chrétienté latine, y déployant le programme pictural le plus ample et le plus précoce réalisé en France à la Renaissance.
Pour leur part, les voûtes couvrent environ 1900 mètres carrés. Elles se présentent comme une ouverture sur le Ciel divin, le Paradis, les félicités mystiques de l’Église triomphante. Elles composent également un miroir de la doctrine catholique, un catéchisme en images, qui inscrit le temps sur fond d’éternité.
Elles évoquent « ce que l’oeil n’a pas vu, ce que l’oreille n’a pas entendu, […] tout ce que Dieu a préparé pour ceux qui L’aiment » (Saint Paul, I Corinthiens, 2, 9). La veine légère et colorée du Quattrocento a permis aux peintres d’exprimer par des signes concrets les fulgurances situées au-delà du sensible. Ils ont figuré le Royaume céleste non comme un lieu corporel de délices et de beauté, mais comme un état plus spirituel que matériel, l’union glorieuse de Dieu et des élus. Une foule d’anges musiciens fait entendre les hymnes éclatantes dont retentit le Ciel.
Un long cortège d’élus, patriarches, prophètes et saints rappelle les étapes de l’histoire du salut à travers l’Ancienne et la Nouvelle Alliance. Quatre grandes scènes figurées montrent que cette histoire converge vers le Second avènement du Christ, à la fin des temps, par la médiation de l’Église et de ses pasteurs. Des détails précisent les voies de l’élection : l’enseignement des clercs, la pratique des vertus et des sacrements, l’accomplissement des cérémonies liturgiques.
Une certaine fantaisie intervient dans ce programme, sans nuire à sa cohérence. Les artistes émiliens se sont délectés à varier les attitudes des personnages et les architectures, n’hésitant pas à emprunter un certain nombre d’éléments au répertoire du grotesque. Cette jubilation créatrice s’accorde magnifiquement avec le thème qu’ils avaient à traiter ; le flamboiement des ors, les grands aplats d’azur et la polyphonie des couleurs abolissent les frontières entre la terre et le Ciel, révélant la Jérusalem céleste, exaltant la fonction médiatrice de la cathédrale et du service divin qui s’y trouve célébré chaque jour. On peut affirmer que l’adéquation parfaite entre le projet et sa réalisation constitue l’ensemble des voûtes de la cathédrale Sainte-Cécile en chef-d’œuvre absolu de la peinture monumentale.
Louis II d'Amboise a confié l'ornementation du plafond de Sainte Cécile à des peintres italiens originaires de Modène et de Bologne. Ceux-ci ont entrepris ce chantier entre 1509 et 1512. Les fresques de la voûte (1509-1512), riches en couleurs et aux dimensions exceptionnelles (97m de long sur 28 m de large), forment l'ensemble de la peinture renaissance italienne le plus vaste et le plus ancien de France.
Ce bleu profond qui tapisse les voûtes au dessus du chœur est ce fameux "bleu de France" qu'on dit aussi "bleu-roi". Contrairement à ce qui a longtemps été mentionné dans les guides touristiques, ce bleu ne provient pas du pastel (plante tinctoriale donnant une couleur bleue cultivée dans la région à la même époque). En effet, le bleu de pastel n'était exploité que pour la teinture, car on ne savait pas en extraire les pigments et les utiliser sous forme de peinture.
Les voûtes de la cathédrale sont conçues comme un ciel immense et bleu, sur lequel se développe un décor de rinceaux, d'arabesques, de candélabres, cadre de scènes au contenu pastoral.
Depuis le thème d'Adam et Eve, jusqu'à l'Annonciation, sont représentés tous les personnages importants de l'Ancien et du Nouveau Testament, dans une ordonnance qui culmine avec le Christ en majesté. Deux travées mettent en image Sainte-Cécile, patronne du lieu.
Les couleurs sont certainement des produits chers. L'azurite, pigment bleu issu d'un composé de carbonate de cuivre, vient de Chessy. La malachite, pigment vert, est plus rare. L'éloignement des gisements renchérit la couleur, sans compter les feuilles d'or utilisées.
Le travail des fresques, se fait en peignant un enduit frais. (fresco signifie frais en italien) Le chantier devait être organisé pour que le mortier soit gâché, monté sur les échafaudages et enduit sur les murs avant que les artistes ne commencent leur travail de précision
Markarian's Chain
Markarian's Chain is a stretch of galaxies that forms part of the Virgo Cluster. When viewed from Earth, the galaxies lie along a smoothly curved line. It was named after the Armenian astrophysicist, Benjamin Markarian, who discovered their common motion in the early 1960s. Member galaxies include M84 (NGC 4374), M86 (NGC 4406), NGC 4477, NGC 4473, NGC 4461, NGC 4458, NGC 4438 and NGC 4435. Near the center there appear the pair of interacting galaxies NGC 4438 and NGC 4435, about 50 million light-years away, known to some as Markarian's Eyes.At least seven galaxies in the chain appear to move coherently, although others appear to be superposed by chance. Six of the points on the chain can be marked by galaxies. The other two points are pairs of galaxies
-=Tech Data=-
-Equipment-
Imaging Scope: Sky-Watcher Esprit 100
Mount: Celestron CGX
Imaging Camera: ZWO ASI 1600MC-Pro
Filter: Baader UV/IR cut
Guide Camera: ZWO ASI120 Mini
Guide Scope: Starfield 60mm guide scope
Dew Control: Kendrick
Power: Pegasus Astro Pocket Power Box
- Acquisition -
2H of 5 min exposures (24)
- Software -
Acquisition / Rig Control: Sequence Generator Pro
Stacking: Astro Pixel Processor
Processing: PixInsight
Post Processing: Photoshop CC
Shot at the Camden Lake Provincial Wildlife Area near Moscow, Ontario.
Bang Saphan Yai (Thaïlande) - Comme personne ne parle anglais il était difficile pour moi de comprendre la cérémonie religieuse. Et comme les participants s’agitent en tous sens, il est également difficile de faire des photos cohérentes au grand-angle. Je décide de me concentrer sur des personnes en prière pour le reste de la série.
Day of celebration (4)
Bang Saphan Yai (Thailand) - As no one spoke English it was difficult for me to understand the religious ceremony. And since the participants were fidgeting in all directions, it was also difficult to take consistent photos at the wide-angle. I decided, for the rest of the series, to focus on people in prayer.
Photographed this morning at Lindo Lake in Lakeside. There were a lot of birds this morning, and I almost regretted not taking my long lens. However, I do love bodies of water for infrared photography, and it was nice and calm so I got coherent reflections.
This is an infrared image taken with my converted Nikon D300 camera. I've been taking infrared photographs for about 10 years, and with a total of 3 different cameras. It's much easier to take infrared images digitally that it was in the film days. If you like this look, I have an album of infrared photographs, creatively named Infrared.
Le Chœur de la Cité épiscopale d’Albi
Sainte-Cécile d’Albi est la seule cathédrale de France à conserver intégralement son chœur. Dans les autres en effet le jubé a disparu, pour des motifs divers.
Cet ensemble exceptionnel comporte deux registres : un cadre architectural, la clôture, et un ensemble de statuaire très fourni, qui comptait à l’origine 280 statues, dont 150 restent aujourd’hui en place.
Les baies du tour de chœur présentent un réseau à l’allure de flammes. Par ailleurs, la façade externe du jubé expose tous les éléments fondamentaux du gothique tardif : arcs en accolade et contre-courbes qui suscitent un dynamisme architectural renforcé par des verticales bien marquées ; elle intègre également des arcs en plein cintre et des horizontales qui tempèrent l’élan vertical. Les voûtes en éventail, à clés pendantes, sur lesquelles repose la tribune, illustrent le très grand savoir-faire des ateliers engagés pour édifier le chœur.
Ils connaissaient la technique des couvrements complexes et les procédés de construction les plus évolués.
Dans l’ensemble du chœur, la qualité de la stéréotomie s’avère exceptionnelle. Aucune structure, dais, socle ou autre n’est un monolithe (une seule pierre). Toutes se composent de plusieurs éléments. L’assemblage de ces derniers, recouverts d’un décor complexe, a requis une grande précision dans leur façonnement, cela d’autant que les joints sont rarement visibles.
Ce raffinement met en exergue la virtuosité des tailleurs de pierre engagés par Louis d’Amboise. Leur grande maîtrise a, seule, permis la floraison des merveilles du flamboyant, surabondantes au chœur d’Albi, où l’ornement foisonne en une sorte de jubilation créatrice. La pierre, guillochée comme un objet d’orfèvrerie, ajourée et présentant des motifs détachés du fond qui les porte, se résout en filigranes et devient dentelle.
Les formes de l’architecture : arcs, pinacles, remplages, se démultiplient de manière étonnante. On a pu dire à cet égard que le dais de la chaire épiscopale constituait à lui seul un résumé de l’art flamboyant. À la féerie de la pierre se conjugue celle des ouvrages de bois et de fer qui sont magnifiques, façonnés par des huchiers (fabricants de meubles) et des ferronniers d’un talent remarquable.
La richesse de la clôture fait du chœur une châsse de pierre qui souligne l’importance essentielle du sacrifice eucharistique opéré dans le sanctuaire, et celle de l’office, prière d’adoration et de requête, chantée dans le chœur proprement dit.
L’intérieur, en particulier, offre un véritable éblouissement. Il frappe par son caractère précieux. Les dais qui dominent les stalles et les anges qui les encadrent composent une extraordinaire « forêt ».
La ciselure de la pierre blanche s’enlève sur des panneaux rouges et bleus et cet éclat chromatique se trouve encore renforcé par les motifs de grotesques dorés qui animent chacun de ceux-ci. L’ensemble de la clôture manifeste une profonde unité dont la finalité est sans doute d’exprimer l’harmonie du ciel et de l’ordre divin.
Tous les détails de la clôture s’avèrent signifiants. On y observe, notamment, l’expression de bien des données de l’arithmétique sacrée du Moyen Âge. Entre autres faits, la clôture comporte trente-trois panneaux, autant que d’années dans la vie terrestre du Christ, et la voûte de la chaire épiscopale compte sept roses et repose sur douze culots.
De même, les feuillages qui courent en maints endroits possèdent un sens profond. Le chêne renvoie à la Première Alliance, conclue par Dieu avec Abraham sous le chêne de Mambré. La vigne, quant à elle, symbolise la Nouvelle Alliance par le sacrifice eucharistique.
Tous ces détails ont donc fait l’objet d’une réflexion attentive. Le cycle de la statuaire présente une cohérence identique.
Wikipedia: Canadian Military Pattern (CMP) trucks were mutually coherent ranges of military trucks, made in large numbers, in several classes and numerous versions, by Canada's branches of the U.S. 'Big Three' auto-makers during World War II, compliant to British Army specifications, primarily intended for use in the armies of the British Commonwealth allies, but also serving in other units of the British Empire.
Canadian factories produced some 850,000 vehicles in World War II, including some 50,000 armored vehicles, self-propelled guns and tanks, but the greatest significance is given to the vast majority – over 800,000 – of trucks and light wheeled vehicles, produced by Ford, GM and Chrysler of Canada.
.. this isn't real? but then... what is it?
my thoughts don't listen to what my body says.
we'll go on somehow_ i think..
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no big glittery icons or invitations , please !
Camino por las calles de un pequeño pueblo de mi infancia, cuando yo era chico solia jugar por los callejones con mis amigos y perdia de vista los deberes para tan solo jugar al pilla pilla, todas aquellas mañanas de verano, correteando como un pajarillo por esas aceras estrechas, comía en casa con toda la familia dia tras dia, y ayudaba a mi abuela a coser, todos cabíamos en un solo cohe e ibamos cantando las tipicas canciones de aquellos tiempos, despues llegó la epoca de las bicis y mas tarde dejamos de correr por aquellos sitios y adentrarnos en otros totalmente distintos, a aveces buenos, pero en ocasiones malos... todos esos recuerdos nunca se olvidan, nunca! porque si aquello mereció la pena, perdurará para siempre.
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I walk the streets of a small town in my childhood when I was a kid I used to play on the streets with my friends and lose sight of the duties for just playing tag, all those summer mornings, running around like a bird by those narrow sidewalks, eating at home with the family day after day, and helped my grandmother to sew, all fit into one coherent and we were singing the songs typical of those times, then came the era of the bike and later we stop run those sites and get into several entirely distinct, sometimes good but sometimes bad ... all those memories are never forgotten, never! because if that was worth it, will endure forever.