View allAll Photos Tagged Confronting
Costruita in stile romanico, la piccola chiesa di Samassi è dedicata a San Gemiliano, localmente Santu Millanu, ed era con molta probabilità l'antica parrocchiale del paese. Dal confronto con numerose altre chiese costruite in epoca medievale nel sud della Sardena, la chiesa di Santu Millanu si fa risalire alla seconda metà del XIII secolo, ed è oggi annoverata fra i più importanti edifici romanici della zona.
FS 17.4.18
VIDEO FRONT PAGE INSERT . UNDER ARREST . US Park Police . The Arrests of 5 Counter Demonstrators . Confront the NAZIs Counter Demonstration . dc.indymedia.org/newswire/display/143026/index.php . against the National Socialist Movement March on Washington Against Illegal Immigrants . George Washington Monument Grounds . National Mall between Constitution and Independence Avenues and 15th and 17th Streets . WDC . Saturday noon, 19 April 2008 . www.youtube.com/watch?v=5m6CE2vAUTg . Elvert Xavier Barnes Protest Photography
You have your shot lined up. A chime whistle sounds in the distance, and the object of your desire accelerates into view ... just as a GBRF train coasts inexorably around the curve in the opposite direction. I’m not a real spotter of course, or I would have this info beamed to me in real-time etc. I can’t even tell you the number of the 66! It was funny afterwards, being unexpectedly confronted by so many containers, and not steam specials. Last but one of The Aberdonian’s first season, so I should have got them out of my system by then!
USPP during The Clash . Counter Demonstrators . Confront the NAZIs Counter Demonstration . protest.net/dcimc/index.cgi?span=event&ID=1002015&... . against the National Socialist Movement March on Washington Against Illegal Immigrants . George Washington Monument Grounds . National Mall between Constitution and Independence Avenues and 15th and 17th Streets . WDC . Saturday noon, 19 April 2008 . youtube.com/watch?v=PLlH7SAfVD8 . Elvert Xavier Barnes Protest Photography
Photo Published at thekojonnamdishow.org/shows/2017-09-13/our-shared-protest...
US Park Police . The Arrests of 3 Counter Demonstrators . Confront the NAZIs Counter Demonstration . protest.net/dcimc/index.cgi?span=event&ID=1002015&... . against the National Socialist Movement March on Washington Against Illegal Immigrants . George Washington Monument Grounds . National Mall between Constitution and Independence Avenues and 15th and 17th Streets . WDC . Saturday noon, 19 April 2008 . Elvert Xavier Barnes Protest Photography
“Confront the dark parts of yourself, and work to banish them with illumination and forgiveness. Your willingness to wrestle with your demons will cause your angels to sing. Use the pain as fuel, as a reminder of your strength.” August Wilson
Ydessa Hendeles's "Partners," three thousand black-and-white photographs of teddy bears and people were displayed this summer at the New Museum. A two-story and two room setting meant to resemble an academic library with steel mezzanines and polished wood vitrines also follows these bears wherever they go.
The New Yorker called it "A Piercing View of the Twentieth Century, Through the Eyes of the Teddy Bear."The project, in Hendeles’s words, looks “at the span of the last century”; the Teddy bear—which was invented in 1903, and named for Teddy Roosevelt—“witnessed that century as well.” According to Massimiliano Gioni, the New Museum’s artistic director, the teddy bear was "created as a healing talisman to confront various traumatic events in the 20th century.”
I was most moved by Ydessa Hendeles being the only child of two survivors of Auschwitz. Ms. Hendeles explanation for the collection is "I was touching on unconscious needs that I had, because I didn’t have any family photographs,” she said “I’m keeping other people’s memories.”
The New York Times called it From Toys to Art Treasures: ‘The Teddy Bear Project.’ I called it "a wonderful walk through someone else's fantasy."
Daredevil has always had a very special place in my heart, whether it's the Netflix show or the character himself. So finally seeing him on the big screen in No Way Home was a dream come true!
It was that moment that drove me to build this MOC, also thank god we finally have an official Daredevil figure! Hope you enjoy, more detailed photos soon
Our Adventures journey home after a long and arduous quest. On their travels they searched high and low to battle the great Yddreig the Red, the Crimson Flame that once torched the Realm. Yet their quest did not lead them to the Dragon... Confused and disappointed our heroes return to the Kingdom, to rest and recover... Little did they realize Yddreig the Red would be waiting for them at the Kingdom's gate...
Fear Yddreig the Red
A beast of fury a beast of dredd
Summon his wrath, no sooner her came
Sword and shield meet claw and flame
Fear Yddreig the Red
Or sooner ye be dead
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Australian Water Dragon
This is an The Eastern Water Dragon Intellagama lesueurii lesueurii, is a subspecies that occurs along the east coast of Australia from Cooktown in the north down to the New South Wales south coast (approximately at Kangaroo Valley) where it is replaced with the Gippsland Water Dragon Intellagama lesueurii howittii (there are a lot of young ones around Sandy Camp Rd Wetlands at the moment)
Scientific Name: Intellegama lesueurii
Identification: The genus Physignathus was described by George Cuvier (1769-1832) in 1829 based on the type specimen of the genus; the Green Water Dragon, Physignathus cocincinus of south-east Asia. The name Physignathus translates to "puff-cheek" and refers to the bulging appearance of the throat and lower jaw. Physignathus comprises two recognised species; Physignathus lesueurii and Physignathus concincinus. The specific name lesueurii honours the French naturalist Charles-Alexandre Lesueur (1778-1846) who collected this species on the Baudin expedition of 1800. There are two recognised subspecies of Water Dragon; the Eastern Water Dragon, Physignathus lesueurii lesueurii and the Gippsland Water Dragon, Physignathus lesueurii howittii. A recent taxonomic review concluded that the Australian species of Physignathus shows enough differing characteristics to classify it in its own genus, since Physignathus was first assigned to P. cocincinus, a new genus hand to be created for the Australian Water Dragons. In 2012 the species was officially renamed Itellagama lesueurii.
The Water Dragon can be identified by a distinctively deep angular head and nuchal crest of spinose scales that joins the vertebral crest extending down the length of its body to the tail. Enlarged spinose scales are also present across the lateral surface, unevenly distributed amongst regular keeled scales. The jowls are large and ear is exposed and of almost equal size of the eye. The dorsal ridge and tail are laterally compressed and the limbs are strong and robust with particularly long toes on the hind legs. The tail is capable of regeneration when lost, furthermore, regenerated tails can also grow back when severed.
Colouration differs between the subspecies; the Eastern Water Dragon, Itellagama lesueurii lesueurii, has a grey to brownish-grey colour above with patterns of black stripes along the dorsal ridge as well as down the tail. There is also a dark stripe horizontally from the eye back over the tympanum and extending down the neck. The limbs are mostly black with spots and stripes of grey and the tail is patterned with grey and black stripes. The ventral surface is yellowish-brown, with the chest and upper belly becoming bright red in mature males.
The Gippsland Water Dragon, Itellagama lesueurii howittii, is identical in morphology apart from slightly smaller spinose scales but differs in colouration and patterning. Dorsally the body is olive-green to brown in colour with transverse black stripes. The dark stripe from the eye to ear is absent. Mature males have dark blue-green chests and streaks of yellow and blue around the neck and throat.
Size range: Total length of 80 to 90cm
Distribution:Water Dragons are found in eastern Australia as well as southern New Guinea. The Eastern subspecies, Itellagama lesueurii lesueurii, occurs along the east coast of Australia from Cooktown in the north down to the New South Wales south coast (approximately at Kangaroo Valley) where it is replaced with the Gippsland subspecies Itellagama lesueurii howittii, which is distributed as far south and into the Gippsland region of eastern Victoria. There are also at least one anthropologically introduced feral population found in the Mount Lofty Ranges near Adelaide in South Australia.
Habitat: The habitats available to this species differ greatly over its distribution, from tropical rainforest in the north to alpine streams in the south. Flowing water with ample tree cover and basking sites appear to be the key to habitat preference for this species. Water dragons will be found in built-up urban areas provided that the above conditions can be found and water quality is fair.
Feeding and Diet: Water Dragons are completely insectivorous as juveniles, however as they grow they become more omnivorous with vegetable matter gradually making up to almost half of the diet. In the wild Water Dragons have been observed ground feeding on insects such as ants as well as foraging amongst the branches of trees for arboreal invertebrates like cicadas. They may also consume molluscs and crustaceans such as yabbies, and individuals have been reported foraging for algae and crabs in intertidal zones of the Sydney region. Juvenile Water Dragons have also been observed feeding on mosquitoes which they will jump in the air to catch. Types of vegetation reportedly consumed include figs, lilly-pilly fruits, and other fruits and flowers. Water Dragons are believed to forage underwater, however this is based on one observation of diving Water Dragons returning to the surface and moving their jaws.
Other behaviours and adaptations: The Water Dragon is more often heard than seen as it dives into the water when disturbed. It can remain submerged for around one hour. This species has a much lower preferred body temperature than other large dragons and can remain in the water or in shade on hot days. They are often seen on overcast days or in the morning basking in the available heat.
Water Dragons have quite contrasting activity patterns that are dependent on the season and average daily temperature within its range. During spring and summer, Water Dragons of all ages and sizes can be seen in the various riparian environments they inhabit - basking on riverbanks and rocks, lounging in trees, swimming, as well as foraging for food on land. They can sometimes be hard to observe, and even animals accustomed to human attention will be quick to escape if approached too closely, by either dropping from rock ledges and branches into the water or running bipedally to the water or thick cover. Young Water Dragons prefer to be on the ground and appear to be more wary than the larger adults. Juveniles of I. l. lesueurii have been observed staying completely still when discovered in a grassed section metres from the water, relying heavily on their dull grey camouflage to blend in with the grass and fallen leaves.
Life cycle: Growth rate is fastest in the first year with hatchings from one mark-recapture project growing 2.25mm or 1.25g per month. One individual measured in its first season in March 1990 was 78mm from snout to vent and weighed 17g. The following year in January this same individual had a snout to vent length of 101mm and was 34g.
Mating and reproduction: The timing of breeding is determined by the onset of warmer weather in spring which occurs sooner in populations inhabiting northern Queensland and later in populations living in Gippsland. In the Sydney region, the breeding season begins in September, when courtship and mating begins, and concludes in January when the last clutches of eggs are laid.
Males are thought to be sexually mature at a snout-vent length of about 210 mm and a mass of 400 g. In the wild this occurs at approximately 5 years of age; in captivity however this can occur as early as 2 years. A single captive female was recorded reproducing from the age of 4 until it was 27 years of age. It is unclear how long males can remain reproductive.
Males of similar size will fight each other when confronted. A male will first attempt to deter his opponent through intimidation, e.g. by walking tall and puffing out the throat with the mouth open wide (see Image 18), and will try to appear as large as possible. If this does not deter the opponent, then ritual combat will result. Male combat includes both animals siding up to each other on the ground so that each animal has its head next to its opponentâs hip area. Both animals will circle each other while taking short bites at each others hip and neck regions. Then they may stop still before erupting into action and repeating this pattern over several more times. Before the end of the battle both opponents will have wounds from biting and scratching on their hips and necks. Fighting between wild males has been observed lasting for ten minutes.
Females can reproduce twice a season in captivity; however this has not been reported in mark-recapture studies of wild populations.
Females begin digging test holes in sandy soil from a week to three days prior to laying. Water Dragon clutch size ranges from 6 to 18. Mean mass of individual eggs varies from about 4.0 to 5.1g.
Predators, Parasites and Diseases: Small Water Dragons have been observed being taken by Brown Tree Snakes Boiga irregularis which hunt for them in the tree branches as they sleep. Other species of snakes known to prey on juvenile Water Dragons include Death Adders Acanthophis antarcticus, Copperheads Austrelaps superbus and Red-bellied Black Snakes Pseudechis porphyriacus. Hatchlings and young dragons are also known to be cannibalised by adult Water Dragons in some wild populations.
© Chris Burns 2020
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This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
Confrontare le proprie esperienze con le esperienze degli altri prenderne il meglio e metterci dentro qualcosa di personale.
Née en 1994 à Donetsk en Ukraine, Sasha Zaitseva a grandi dans une famille russo-ukrainienne où elle a « ressenti le dualisme culturel comme norme ». Ce n’est qu’en 2014, lors de la guerre civile ukrainienne, qu’elle réalise porter deux héritages culturels séparés. Avec ses Kalina venok, des couronnes tressées de fleurs, elle pense le rôle des signes et objets culturels dans la formation de l’identité. La même année elle participe au Salon d’Automne International à Tel Aviv (Israel). Depuis elle expose en France et au Danemark (Musée de Greve, 2021). Elle est lauréate du prix UNESCO 2018 « Exprime toi : la culture, un agent de la paix ». Elle devient membre de l’atelier des artistes en exil en mai 2022.
Born in 1994 in Donetsk, Ukraine, Sasha Zaitseva grew up in a Russian-Ukrainian family where she “felt cultural dualism as the norm”. It was not until 2014, during the Ukrainian civil war, that she realized she was carrying two separate cultural heritages. With her Kalina venok, braided crowns of flowers, she thinks about the role of cultural signs and objects in the formation of identity. The same year she participated in the Salon d'Automne International in Tel Aviv (Israel). Since then she has exhibited in France and Denmark (Greve Museum, 2021). She is the winner of the 2018 UNESCO Prize “Speak Yourself: Culture, an Agent of Peace”. She became a member of the workshop of artists in exile in May 2022.
A atrium designed by Michael Graves serves as a connection point for several pre-existing buildings. Graves has woven them together in an attractive and creative way.
Working on a budget vinyl floors were used in place of marble, stucco in place of stone but the effect is rich and elegant.
More Photos on MOCpages: www.moc-pages.com/moc.php/444871
As many of you know I love Castle building, it's so easy to pack in detail with that theme, which is why it's one of my favourite things to do when building. So Castle and Marvel in the one vig? Why not! I've had the Doom figure lying around since I bought the set it came in, so what's that... 2013? Man 5 years now. Anyway yes super glad I finally got to use this figure in a MOC. For me collecting figs is fun, it's nice to have them sure, but it's only worth it when I can put them in a MOC. So I used this MOC as a way to display some other figs that I have yet to come up with concepts for MOC's to put them in. The Sentry figure is from bigkidbrix, if you are wondering ;)
But yeah, love building throne rooms like this, makes me want to do more, it was great fun to combine two of my favourite themes in the one vig like this. Would love to do it again!
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Couple final things:
I have a Flickr, take a look if you wish:
www.flickr.com/photos/bencossy/
Also check out my Youtube for weekly videos:
www.youtube.com/user/GreebleGod
And I post pretty much daily on Instagram, so check that out:
Please don´t hesitate with any comments, questions or criticisms...
Till Next Time
See Ya~
" Un et un à présent ça fait deux avant ça ne faisait qu’un " : Charles Ferdinand Ramuz ~ Adam et Eve
Un titre utilisé pour une performance réalisée par Marie-France & Patricia MARTIN
à Anvers en 1999.
“I confront the city with my body; my legs measure the length of the arcade and the width of the square; my gaze unconsciously projects my body onto the facade of the cathedral, where it roams over the mouldings and contours, sensing the size of recesses and projections; my body weight meets the mass of the cathedral door, and my hand grasps the door pull as I enter the dark void behind. I experience myself in the city, and the city exists through my embodied experience. The city and my body supplement and define each other. I dwell in the city and the city dwells in me.”
― Juhani Pallasmaa
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One of the streets of New Town in Warsaw, Poland. you can see another view of the same street with Holy Spirit Church on background in the comment box.
Thanks to all for 9,000.000+ views and kind comments ... !
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Lucca, sarcofago di ILARIA DELCARRETTO.
Ilaria del Carretto era la giovane moglie di Paolo GuinigI,
signore di Lucca tra il 1400 e il 1430, che aveva sposato nel 1403. Quando morì, a soli venticinque anni, il marito contattò lo scultore Jacopo della Quercia, che lavorò all'opera dal 1406 al 1408. Il corpo di Ilaria non venne mai deposto però nel sarcofago, la salma infatti riposa nella cappella di Villa Guinigi.
Il sarcofago venne posto al centro del duomo di San Martino a Lucca. Quando Paolo, signore di Lucca, fu cacciato dalla città nel 1430, i suoi beni furono confiscati ed anche il sarcofago di Ilaria venne spogliato delle decorazioni laterali. Il sarcofago dall'originale posizione bene in vista nella chiesa fu spostato in posizione defilata nei pressi della sacrestia. Nel 1488 artisti locali scolpirono nuove fiancate, anche se successivamente le originali vennero ritrovate e poste nuovamente ai lati del sarcofago.
Ad oggi il sarcofago è stato dotato nuovamente delle parti sottratte ed è stato posizionato all'interno della sacrestia dove è visitabile. Nel 2002 il Capitolo del Duomo, affidò agli architetti David Palterer e Luigi Zangheri di Firenze la nuova sistemazione dell'opera nell'adiacente museo.
Una campagna di scavi svoltasi nel 2012 nella cappella di S. Lucia, a Lucca, ha permesso il ritrovamento di quelli che potrebbero essere considerati i resti di Ilaria Del Carretto, insieme ad altre due mogli di Paolo Guinigi.
Il sarcofago marmoreo raffigura la ragazza dormiente,a grandezza pressoché reale, riccamente abbigliata e giacente su un catafalco decorato con putti reggifestone. La ragazza ha i capelli raccolti in una tipica acconciatura dell'epoca che si chiama cercine (inizio Quattrocento) mediante una fascia imbottita e la testa è appoggiata su due cuscini. Anche l'abbigliamento con cui la donna è ritratta riflette la moda dell'epoca, con la Pellanda stretta sotto il seno da una fascia, le vesti abbondanti di stoffa e il colletto rigido (si confronti con le miniature dei fratelli Limbourg nel Les Tres Riches Heures
Il ritratto è dolce ed elegante,con uno struggente contrasto tra la bellezza del soggetto e lo stato di morte che è entrato nell’immaginario collettivo.
Il panneggio è ancora tardogotico, allineato con la coeva scultura
borgognona, ma il ritratto è caratterizzato individualmente, frutto della lezione del nuovo Umanesimo, mentre il motivo dei putti con festoni sui fianchi è una
esplicita citazione classica.
Ai piedi di Ilaria, è accoccolato un cagnolino, simbolo della fedeltà coniugale.
fonte wikipedia
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Reminds me a bit of a scene from Tolkien -- the characters reach a final stage of their quest, confronted by a tower of immeasuable hight and even more incomprehensible might. Skies of turmoil roll above them and a distant cloud of dust signifies an approaching army. All I am missing here are the Eagles...Come on, even the name of the tower -- the Shard -- might have been taken from a fantasy novel!
The Deposition, also known as the Pala Baglioni, Borghese Entombment or The Entombment, is an oil painting by the Italian High Renaissance painter Raphael. Signed and dated "Raphael. Urbinas. MDVII", the painting is in the Galleria Borghese in Rome. It is the central panel of a larger altarpiece commissioned by Atalanta Baglioni of Perugia in honor of her slain son, Grifonetto Baglioni. Like many works, it shares elements of the common subjects of the Deposition of Christ, the Lamentation of Christ, and the Entombment of Christ. The painting is on wood panel and measures 184 x 176 cm.
In the early part of the 16th Century, violence among factions, mostly in the form of hand-to-hand combat, was relatively common in Perugia and other parts of Italy, such as Florence. The Baglioni family were the lords of Perugia and surrounding areas, and also leading condottiere or leaders of mercenary troops. There was an especially bloody episode in Perugia on the night of 3 July 1500, when Grifonetto Baglioni and some angry members of the family conspired to murder much of the rest of the Baglioni family as they slept. According to Matarazzo, the chronicler of the family, following the bloodshed, Grifonetto's mother Atalanta Baglioni refused to give her son refuge in her home and when he returned to the city he was confronted by Gian Paolo Baglioni, the head of the family who had survived the night by escaping over the roof tops. Atalanta changed her mind and rushed after her son, but arrived only in time to see her son being killed by Gian Paolo and his men. A few years later, Atalanta commissioned the young Raphael to paint an altarpiece to commemorate Grifonetto in the family chapel in San Francesco al Prato. Raphael took the commission very seriously, over the course of two years working on and developing his design through two phases and numerous preparatory drawings.
This was the last of several major commissions by the young Raphael for Perugia, the home city of his master Perugino. He had already painted for the same church the Oddi Altarpiece (now in the Vatican) for the Baglioni's great rival family (with whom they were also intermarried), and other large works. The new commission marked an important stage in his development as an artist, and the formation of his mature style. The painting remained in its location until in 1608, it was forcibly removed by a gang working for Cardinal Scipione Borghese, nephew of Pope Paul V. In order to pacify the city of Perugia, the Pope commissioned two copies of the painting from Giovanni Lanfranco and the Cavaliere d’Arpino, and that by Arpino is still in Perugia. Though confiscated by the French in 1797 and exhibited in Paris in the Louvre, then renamed the Napoleon Museum, it was returned to the Galleria Borghese in 1815, except for the predella which was taken to the Vatican Museums.
. . . below Stob Ghabhar.
Nearing the end of a giant day, ploughing through many miles of deep snow in the 'Black Mount' hills, I was faced with a final obstacle, namely the Allt Toaig burn.
Halfway across, & teetering on a slippery, half- submerged rock, I unadvisedly looked up.
The confronting scene just spoke to me in such a persuasive way, I just had to remain rooted to my precarious spot & dig out my camera from its bag & attempt to capture just some of its wintery, late-afternoon atmosphere.