View allAll Photos Tagged Complexity
Copyright © S. F. Brown - All Rights Reserved
www.fluidr.com/photos/25709079@N03
Explore: January 27, 2015
La complexité d'une fleur de Polycycnis muscifera est directement liée á sa pollinisation par les abeilles Euglossinii. L'étymologie du nom provient de poly (beaucoup) et cycnis (suite á la forme de la colonne super allongée et mince ressemblant á un cou de cygne). La plante porte en effet de nombreuses fleurs par hampe florale (j'en ai compté jusque 60 sur cette espèce). Photo in situ sans flash, département du Valle del Cauca, Colombie.
Complexity of a Polycycnis muscifera flower is directly linked to its pollination by Euglossinii bees. The etymology of the name comes from poly (many) and cycnis (for the column shape, very thin and long like a swan's neck). Indeed, the spikes carry a lot of flowers (I counted until 60 on this species). In situ photo without flash, Valle del Cauca department, Colombia.
La complejidad de una flor de Polycycnis muscifera es directamente relacionada con su polinizazión por abejas Euglossinii. La etimologia del nombre proviene de poly (mucho) y cycnis (por la forma de la columna super alargada y delgada parecida al cuello del cisne). De hecho son varas florales que llevan muchas flores (he observado hasta 60 en esta especie). Foto in situ sin flash, departamento del Valle del Cauca, Colombia.
Sheets and strips of inner bark have fallen from a dead tree trunk.
(In Flickr's "Explore" page, July 23, 2020)
Copyright J.R. Devaney
What does it mean to take the complexity of what it means to be human, to truly be alive, and represent it for each person in one singular moment? When i shot more concerts, I became obsessed about the gesture or facial expression that defined that person. As I age, I am more interested in moments of non performance when someone just absorbs life and lets it in.
I am actually a fairly shy person with people I don't know, especially musicians I admire. So, I have seen John Dwyer perform many times in different states even (Texas, California, Illinois) but I've never had an actual conversation with him. Yet, I love how he always stands on the side of the stage for the openers and really listens actively. Here he is during the Adult set watching. Usually, I see him taking photographs of the other bands from the sides but I think he didn't pull out his camera because it was snowing this day.
Sometimes, you want to believe the dream that the musicians you care about are kind and filled with wonder in real life and you can't risk meeting them in case that just turns out not to be true. I think in Dwyer's case, it's probably true.
**All photos are copyrighted. Please don't use without permission**
After Gyula Holics. He photographed on film common objects in simple and complex lighting to explore the interplay of shape and light.
Whilst in Brittany, after the dish washing, I explored the same by lowering the kitchen blind progressively to control the outdoor evening light by intensity and direction.
Bartok, Arnhem, The Netherlands.
Design (2013): Barcode Architects.
The importance of organised complexity - order, but not too much order. Chaos, but not too much chaos.
A Celtic iron -on transfer pattern for embroidery. I've never used it for embroidery. Too complex for me to embroider but I like the pattern.
flickrbingo4-O73
Beginning a new little series showing the intricated details of this variety of Iris (different from the Iris of my previous up-load),
grown and blossomed for the very first time in my garden.
©WhiteAngel Photography. All rights reserved.
Ref.DSCF6811 okk edited trat VM DEFF (Editing test) Fujifilm X-S1 #LimitedEdition
The fortified early Gothic church from the first half of the 14th century was built on the site of an older building. In the 15th century it was fortified with a wall and a wooden bell tower was built on the grounds in 1657. The single-nave space with a square-ended presbytery and a built-in sacristy has a painted cassette ceiling from 1758, the presbytery is characteristic by its rib vault. The mural paintings date back to the 60s of the 14th century and the creator of at least a part of them is the Master of Ochtiná presbytery. These interior frescoes were discovered in the early 20th century by I. Huszka who was restoring them in 1905. All the paintings, interior and exterior ones, were completely restored between 1983 and 1985 by J. Josefík, L. Székely and I. Žuch.
Within the almost intact medieval church, the murals have a uniquely strong impression and informative value, thanks to their scale and complexity of preservation. Thematically they focus on individual scenes from the Marian and the Passion cycle, but they do not have a uniform concept unlike the upper belt on the nave’s northern wall with a complete depiction of the St. Ladislaus legend.