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Burrowing Owl - Young - Testing it's wings. From my archieves. Unfortunatelly I did not get it flying but there are some more pictures of this essay... I hope you do not get tired.
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The tower includes elements of traditional Islamic architecture and southwestern Asian design. Elizabeth Lambourn's Islam Beyond Empires: Mosques and Islamic Landscapes in India and the Indian Ocean studies the introduction of Islam in South Asia and how the region influenced the Islamic religious architecture. These newly arrived Muslims from the Islamic West escaped the Mongol Empire and emigrated to India, where they constructed religious centers. The Qutb Minar serves as a central marker to these new Muslim communities as well as being a reminder of Islam's presence in the area. The architecture of the minaret varies greatly from that of the typical style and design of the mosques constructed in the Middle East. The style of these structures is influenced by the local architecture such as the Indic temples. This affected the different materials, techniques, and decoration that were used in the construction of the Qutb Minar.
Historically, tower minarets were uncommon in South Asian-Islamic design until the 17th century, due to the slow adoption of the typical Middle Eastern style in India. It is also detached from the main mosque, showcasing how the native culture affected the design of a Middle Eastern structure. The Qutb Minar is seen as the "earliest and best example of a fusion or synthesis of Hindu-Muslim traditions" according to Ved Parkash in his essay The Qutb Minar from Contemporary and Near Contemporary Sources. Like many mosques built in South Asia during this time period, the minaret was constructed by Hindu laborers and craftsmen but overseen by Muslim architects. This led to a construction that synthesized both Hindu and Islamic religious architecture. Since some of the craftsmen were Hindu and unfamiliar with the Quran, the inscriptions are a compilation of disarranged Quranic texts and other Arabic expressions.
From Wikipedia, the free encyclopedia
Return to Hakone Gardens, Saratoga. Shot with Fujifilm XPro2 and 18-55mm f2.8-4 lens in Classic Chrome.
PHOTO ESSAY: HAKONE
Hello All,
I am back from a sunny and relaxing RL holiday and like to draw your attention to the present installation 'Invisible Cities - Essay on Desire' by Debora Kaz @ Nitroglobus Roof Gallery, which is worth your (re)visit for sure.
Please read Inara's review about the exhibition: modemworld.me/2023/09/04/invisible-cities-an-essay-in-des...
taxi to Nitroglobus: maps.secondlife.com/secondlife/Sunshine%20Homestead/38/22...
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Copyrighted © Wendy Dobing All Rights Reserved
Do not download without my permission.
Essay on canvas 160x70
Painting with a screwdriver and black and green enamel
Sebastian Iriarte
On those heights he builds for himself tabernacles -- tabernacles of peace, there longs and loves and gazes across, until the welcomest of all hours draws him down into the waters of the spring --
- Novalis (1800)
PHOTO NOTE:
With a photo essay - like a photo book or zine - it is important to see each individual photograph in context with the rest of the series. In other words, the way I have laid out Hymns to the Night is not only to fit the quotes from Novalis' poem, but to relate each photo to the previous one and the one that comes after it. Nothing is random. So if you're just looking at an individual photo in your activities feed or a group, rather than my photostream, you are missing the point entirely!
Sublime Essay.
Modo dicitur infinitum dissimilium partium aquae demonstrationes immobilem intermedia absurdas rationes animadverti mutationes,
попередні аргументи вниз напрямки труднощі регіони необхідні пересування довільні місця розумні позиції особливих величин чіткі лінії,
le divisioni percepiscono modi diversi di ostacolare le distinzioni che possiedono conseguenze che ruotano i sistemi all'interno delle parti simultanee del confine,
la légèreté infinie suppose que les masses tiennent grandes les grands poids proportionnels du raisonnement proportions inverses temps égal temps continuellement décroissant,
vernietigbare referenties toegepaste woorden predikeren moeilijkheden evenredige afmetingen maximale toepassingen mogelijke kwantiteit overwegingen,
発言位置の確認は世界の高度な制限障害アカウントセンターは自然な場所で異議を唱えます無関心な四肢は作家の重い事実を想定重い事実.
Steve.D.Hammond.
Epistolary Essay.
Rebel vitae determinationibus praecipitem effecerit cogens habet imaginem rerum artifex, discordiis determinationes iura praeclara,
εκδηλώσεις μυστικά επικίνδυνα δικαστήρια που ασκούν νόμους υπέροχες δηλώσεις μετρημένα ποιήματα εμπιστευτική φιγούρα φιλελεύθερη μεταρρύθμιση,
espião aventureiro escapando liberdades guilhotinas rápidas traduções coloquiais dividindo ruas verdadeiras escandalosas altas esticando paixões,
telynau mentrus siambrau pedal tywyllwch meddwl tybiedig dieithryn bwerau ennobled celf cymryd rhan yn aros i gyfrif dilemâu ffolineb anghynaladwy,
ambiții amabile explorând taverne intoxicații atenții interacțiuni intelectuale zile de investigație concepute superstiții dogme iluministe,
ראיות משכנעות תלונות נבל זיופים בוגדים מסקרנים הצעות יתרונות אדישים אדם חשוכת מרפא,
職業献身的な観光地優勝計画告白者の目仙人の思い出崩壊しつつある交渉想像された行書かれた通信文句やけど.
Steve.D.Hammond.
Nice Artreview.com write-up on our London Exquisite Corpse screening: www.artreview.com/forum/topic/show?id=1474022:Topic:1044399
* * *
The EXQUISITE CORPSE VIDEO PROJECT volume 1
LONDON PREMIERE
Thursday 11th March 2010
7pm - 9.30pm
16mm Deli Café & Screening Room
19 D’Arblay St reet –Soho
London W1F 8ED
braziliality@gmail.com
The project will be screened on a loop in the Private View evening.
A limited edition project catalogue will be available for sale and to order.
The catalogue includes artists’ profiles and an essay by the Brazilian journalist, art critic and curator Juliana Monachesi.
The exhibition will run until 14th April at 16mm Café will also include still photographs taken from the videos.
Curated by Alicia Bastos & Alicia Felberbaum.
Exquisite Corpse volume 2 will be exhibit later 2010.
“Working with art videos can be very isolating.
I was feeling the need to exchange ideas with other
artists with similar interests. I’m also very curious
about other cultures and I believe that the mix of all
these people with different backgrounds is what
makes the project so rich. “
Kika Nicolela (project coordinator)
ECVP v1 is an international video collaboration project where 37 artists, including myself, from 16 countries around the world have created 9 videos in a total running time of 82 minutes.
The film has been created by group of individual and successful artists, many of who have not met previously, responding to an invitation by Kika Nicolela, an
award-winning filmmaker from Sao Paulo, Brazil. Nicolela facilitated the project through the international social networking site for artists, curators and art critics on
Art review.com following discussions at Video Artists Forum.
The project was inspired by the classic Surrealists' drawing method of the same name, Cadavre Exquis, in which a paper is folded so that each contributor sees only a small portion of the preceding artist's work. The ECVP participants created minute-long video art segments in response to the final ten seconds of the previous filmmaker's work. Each participant was then asked to incorporate these seconds into their piece, creating transitions as they pleased, until everyone's vision was threaded together into a final "corpse". In this global experiment, artists have created and enriched the final production with their unique personal style and input, following each others prompt as a source of inspiration.
While working in collaboration, the ECVP group is in search for new modes of expression in the development of video art, building a new concept through utilizing the characteristics of participatory platforms and new communication technology. ECVP Volume 1 has been screened in festivals and galleries throughout the world,
including Brazil, Sweden, Germany, Greece, South Africa, Canada, Mexico, and the US.
For more information, visit:
www.artreview.com/profile/EXCORPSE
Interview with ECVP members @ MOMENTemagazine.com
momentemagazine.com/2008/08/11/exquisite-corpse-at-monkey...
SEE: www.facebook.com/event.php?eid=10150090071690533&ref=nf
Hasselblad 500 c/m
80mm Planar lens f/2.8
Kodak Portra 400VC
I think I found my next photo essay. Interesting cars with my hasselblad. A very easy target though. This will be a work in progress.
Madewell clothing store at Santana Row in San Jose. Shot with Fujifilm XPro2 and 18-55mm f2.8-4 lens in Classic Chrome.
PHOTO ESSAY: ON THE ROW
338/365/2023, 4721 days in a row
it has been over 30 years since I had to write an academic essay, to say it's not going well might be an understatement.
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
Qi Bo's photos on Flickr Hive Mind
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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This year I asked myself, like so many Sicilian and non-Sicilian photographers, where to go to take pictures for Good Friday, to discover one of the many popular traditions scattered throughout Sicily, in fact Easter in Sicily is a cathartic moment for those in search of traditional popular events, to be able to tell with words and above all (for those like me) with photographs, a research that may appear not without contradictions, for example for that great Sicilian thinker who was Leonardo Sciascia, for he Sicily cannot be called Christian, which he defined the Sicilian festivals, at best it is only in appearance, in those properly pagan explosions, tolerated by the Church; Sciascia deals with the topic as an introductory essay in the book "Religious feasts in Sicily" (a volume that is still found on flea markets at ever higher prices), illustrated with photographs of a young and still unknown Ferdinando Scianna (in the first edition they made a mistake also his name, Fernando Scianna can be read on the cover), a book that did not fail to raise some controversy precisely because of the introductory note of the Sicilian thinker, appearing in open controversy with the sacredness of that popular devotion (so much so that the book was the subject of a criticized by the newspaper of the Holy See, The Roman Observer), Sciascia writes “What is a religious feast in Sicily? It would be easy to answer that it's anything but a religious holiday. It is, above all, an existential explosion; the explosion of the collective id, where the collectivity exists only at the level of the id. Because it is only in celebration that the Sicilian emerges from his condition as a lonely man, which is after all the condition of his vigilant and painful superego, to find himself part of a class, a class, a city ”. Going back over the thought of Gesualdo Bufalino, Sicilian writer and poet, we find interesting indications on the meaning that the Sicilians give to these traditional popular events, he says "during Easter every Sicilian feels not only a spectator, but an actor, before sorrowful and then exultant, for a Mystery which is its very existence. The time of the event is that of Spring, the season of metamorphosis, just as metamorphic is the very nature of the ritual in which, as in a story from the “Opera dei Pupi” (Puppets work), the fight of Good against Evil is fought. The Deception, the Pain and the Triumph, the Passion, the Death and the Resurrection of Christ are present”.
In short, Easter in Sicily is a recurrence deeply felt throughout the island since ancient times, it has always had the moving participation of the people as its fulcrum, with representations and processions that have become rites and traditions that unequivocally characterize many Sicilian towns, which recall the most salient moments narrated in the Gospels and which recall the Passion, Death and Resurrection of Jesus Christ, with processions formed by the various brotherhoods (sometimes with theatrical re-enactments) which have in themselves contents and symbols often coming from the Spanish domination, which in Sicily between the 16th and 17th centuries.
Returning to my question, expressed at the beginning, I had several suggestions from friends and acquaintances, among these a nurse friend of mine, originally from Leonforte, Vincenzo, managed to tickle my interest in a particular way, hence the photographic story that I present, made this year, is that of the Good Friday procession of Leonforte.
The procession begins in the late morning, which proceeds from the Oratory to the Mother Church, through the Piazzale Matrice, during the short journey the Stations of the Cross are meditated on; the procession that advances towards the Cathedral (which will represent Golgotha, because it is there that the Crucifixion of Christ will take place) is started by a large Cross, behind it proceed two long lines of sisters and brothers, there are those who carry cushions with nails, the crown of thorns, and the sheet of the deposition with a "Red Rose" on it; then we find Christ with an uncovered face supported by five brothers, followed by the Virgin of Sorrows, carried on the shoulders of the confraternity of the same name. At noon, inside the Mother Church, once in front of the Cross, the statue with jointed arms is "crucified". When dusk comes everything is ready for the procession, which starts from the Mother Church with the rite of the deposition of Christ down from the Cross, which is taken care of by the priests; the procession winds along an estimated route of just over 7 km, involving the 13 churches of Leonforte (thirteen as there are stations of the “Way of the Cross”), a procession called "'U Mulimentu", a term that indicates the sepulcher which it guarded for three days the body of Christ before his Resurrection (The procession of the “'U Mulimentu” can be dated around 1650). This itinerary also includes the lighting of a huge bonfire placed in the square in front of the " Great Fountain of Leonforte" (built on the remains of an ancient Arab fountain), from whose 24 spouts water does not come out only on Good Friday, as a sign of mourning the death of Christ.
…………………………………………………………………..
Quest’anno mi ponevo la domanda, come tanti fotografi, siciliani e non, dove recarmi a realizzare fotografie per il Venerdì Santo, alla scoperta di una delle tantissime tradizioni popolari sparse in tutta la Sicilia, la Pasqua infatti in Sicilia, è un momento catartico per chi è alla ricerca di eventi popolari tradizionali, da poter così raccontare con parole e soprattutto (per chi come me) con fotografie, una ricerca che può apparire non priva di contraddizioni, ad esempio per quel grande pensatore Siciliano che fu Leonardo Sciascia, per lui la Sicilia non può dirsi cristiana, che definiva le feste Siciliane, al massimo lo è solo in apparenza, in quelle esplosioni propriamente pagane, tollerate dalla Chiesa; Sciascia affronta l’argomento come saggio introduttivo nel libro “Feste religiose in Sicilia” (volume che si trova ancore sui mercatini dell’usato a prezzi sempre più alti), illustrato con fotografie di un giovane ed ancora sconosciuto Ferdinando Scianna (nella prima edizione sbagliarono anche il suo nome, sulla copertina si legge Fernando Scianna), libro che non mancò di sollevare qualche polemica proprio per la nota introduttiva del pensatore Siciliano, apparendo in aperta polemica con la sacralità di quella devozione popolare (tanto che il libro fu oggetto di una stroncatura da parte del quotidiano della Santa Sede, l’Osservatore Romano), Sciascia scrive “Che cos’ è una festa religiosa in Sicilia? Sarebbe facile rispondere che è tutto, tranne che una festa religiosa. E’, innanzi tutto, un’esplosione esistenziale; l’esplosione dell’es collettivo, dove la collettività esiste soltanto a livello dell’es. Poiché e soltanto nella festa che il siciliano esce dalla sua condizione di uomo solo, che è poi la condizione del suo vigile e doloroso super io, per ritrovarsi parte di un ceto, di una classe, di una città ”. Andando a ripercorrere il pensiero di Gesualdo Bufalino, scrittore e poeta Siciliano, si trovano indicazioni interessanti sul senso che i Siciliano danno a questi eventi popolari tradizionali, egli dice “durante la Pasqua ogni siciliano si sente non solo uno spettatore, ma un attore, prima dolente e poi esultante, per un Mistero che è la sua stessa esistenza. Il tempo dell’evento è quello della Primavera, la stagione della metamorfosi, così come metamorfica è la natura stessa del rito nel quale, come in un racconto dell’Opera dei Pupi, si combatte la lotta del Bene contro il Male. Sono presenti l’Inganno, il Dolore e il Trionfo, la Passione, la Morte e la Resurrezione di Cristo”.
In breve, la Pasqua in Sicilia è una ricorrenza profondamente sentita in tutta l’isola fin dall’antichità, essa ha sempre avuto come fulcro la commossa partecipazione del popolo, con rappresentazioni e processioni divenuti riti e tradizioni che caratterizzano inequivocabilmente numerosissimi centri Siciliani, che rievocano i momenti più salienti narrati nei Vangeli e che ricordano la Passione, la Morte e la Resurrezione di Gesù Cristo, con cortei formati dalle varie confraternite (a volte con rievocazioni teatrali) che hanno in se contenuti e simbologie spesso provenienti dalla dominazione Spagnola, avvenuta in Sicilia tra il XVI ed il XVII secolo.
Ritornando alla mia domanda, espressa all’inizio, ho avuto diversi suggerimenti da parte di amici e conoscenti, tra queste un mio amico infermiere, originario di Leonforte, Vincenzo, è riuscito a solleticare il mio interesse in particolar modo, da qui il racconto fotografico che presento, realizzato quest’anno, è quello della processione del Venerdì Santo di Leonforte.
La processione inizia in tarda mattinata, che procede dall’Oratorio fino alla Chiesa Madre,attraverso il piazzale Matrice, durante il breve tragitto vengono meditate le stazioni della Via Crucis; ad inziare la processione che avanza verso il Duomo (che rappresenterà il Golgota, perché è li dentro che avverrà la Crocifissione del Cristo) è una grande Croce, dietro procedono due lunghe file di consorelle e confrati, ci sono coloro che portano i cuscini con i chiodi, la corona di spine, ed il lenzuolo della deposizione con sopra una “Rosa Rossa”; poi troviamo il Cristo a volto scoperto sorretto da cinque confrati, segue la Vergine Addolorata, portata in spalla dall’omonima confraternita. A mezzogiorno, dentro la Chiesa Madre, giunti dinnanzi alla Croce, la statua con le braccia snodabili viene “crocifissa”. Quando sopraggiunge l’imbrunire tutto è pronto per la processione, che inizia dalla Chiesa Madre col rito della deposizione del Cristo giù dalla Croce, della quale se ne occupano i sacerdoti; la processione si snoda lungo un percorso stimato in poco più di 7 Km, interessando le 13 chiese di Leonforte (tredici quante sono le stazioni della Via Crucis), processione chiamata “’U Mulimentu”, termine che indica il sepolcro che custodì per tre giorni il corpo del Cristo prima della sua Resurrezione (La processione del “’U Mulimentu” è databile intorno al 1650). Questo percorso prevede anche l’accensione di un enorme falò posto sul piazzale antistante la “Gran Fonte di Leonforte” (costruita sui resti di una antica fontana araba), dalle cui 24 cannelle non esce acqua solo il giorno del Venerdì Santo, in segno di lutto per la morte del Cristo.
In late February, Ms. Essay accepted an invitation to lunch made by the St. Louis Gender Foundation’s (StLGF) newsletter editor, Belinda, to share a meal and discuss, among other things, the finalization for distribution of the March issue of our Gazette newsletter.
For that moderately cold but sunny Thursday, Ms. Essay chose to wear her heavyweight black and speckled gray half-sleeve sheath dress with color-matching two-tone pointed toe pumps.
The last time Ms. Essay recalls wearing this dress was back in October 2020 during the COVID pandemic when she decided to get out of the house and take a walk inside an old local semi-deserted shopping mall. Five (5) photos related to that mall walk were uploaded to Flickr and can be found in her album titled, “2020”.
This February 2023 pose shows a frontal view of that two-tone heavyweight half-sleeve dress.
At the start of this year when Graham’s 318 Coffee House in Geneva reopened after major renovations I popped in to tell the owner Bob how much I admired the new look. I mentioned that I especially enjoyed the meandering path that leads to the front door. I wondered aloud if it was deliberately made with such tight curves in order to slow folks down, as in some Japanese garden designs where paths can sometimes take an unexpected or abrupt turn in an effort to slow down the walker and make them more conscious of their surroundings. Bob replied that while that’s a beautiful principle that he was unfamiliar with, the real reason for the tight meander here is more functional: should the path from the sidewalk to the front door be a straight line, it would be too steep a grade for wheelchairs to make. I found this an interesting example of how our manufactured surroundings are a vibrant mix of both the aesthetic and the practical.
Ensaio...
Vale do Sorraia - Coruche - Portugal
Pentax K-1 Marck II + Sigma EX DG 28mm f1:1.8 Aspherical
A picture of a wave crashing right next to shore. Can you guess how big or small the wave actually is?
This was shot on Sosua beach in the Dominican Republic. The entire sky was overcast giving a beautiful diffused light that shined perfectly through the crystal blue/green water of this tropical ocean.
You can check out the FULL photo essay entitled "Crashing Waves" here:
wetravelandblog.com/2013/travel-photography/travel-photo-...