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Granite sculptures by Masayuki Koorida, Richard & Helen DeVos Japanese Garden at Frederik Meijer Gardens & Sculpture Park, Grand Rapids, Michigan
In an alternative existence, Ingrid has grandchildren dandering on her knee. She rocks quietly in her chair in the evening, a cat purring gently by the fireside, But in this reality, Ingrid is homeless, wrapped in layers of woollies, living cold and alone on the streets of Bristol. I dread to think what may or may not happen to her at night.
I met her in the centre, sat in the alcove of a door, surrounded by carrier bags. Were they all her worldly goods in there or where they just as they appeared to be - trash? But those piles of old newspapers were precious to her.
Homelessness is tragic whatever the person's age or sex. But an old woman out there seems particularly wrong.
This is a new edit of a shot from 2015. The statistics indicate this lady is dead now. Average life expectancy for homeless females is just 52 years old so Ingrid was already on borrowed time when I shot this,
This is an unposed street shot of Ingrid. She broke into a big grin when I asked her name. Bag ladies don't have names usually. Maybe their names goes when the dreams go. How bloody sad.
(Don McCullen, whose work I have long admired, famously did the Marine in Vietnam with the Thousand Yard Stare which my title pays homage to and references.)
Pinned to a post above Wimbleball reservoir on Exmoor.
Any ideas what beast this skull belongs to? Some good canine teeth there.
(On reflection I think it might be a dog's skull?! It would kind of explain why it's pinned to a post in a sheep-farming area; to act as a warning to owners to keep their dogs on leads?!)
According to the Indonesian Forum for the Environment, the city’s mangrove forests have fallen in total area from 1,400 hectares to just 45 hectares in the last 20 years, a loss that means 6.6 million cubic meters of water in Jakarta rivers are left unabsorbed. Despite its importance, the smallest reserve in Indonesia is relatively unknown.
Handmade embroidery, original design -- based on having My Fair Lady's song lyrics "All I want is a room somewhere, far away from the cold night air, with one enormous chair" stuck in my head
Encore un curieux petit insecte dont je ne soupçonnais même pas l’existence avant qu’il passe devant l’objectif !
Il s’agit d’un psoque, catégorie d’insectes peu évolués qui existaient déjà il y a plus de 250 millions d’années, et particulièrement d’un Graphopsocus cruciatus, reconnaissable au motif croisé de ses ailes (d’où son nom) et à sa large tête à bande brune. On le trouve en Europe, en Amérique du Nord et en Asie et il peut survivre dans des climats relativement frais.
C’est une espèce commune mais méconnue, que l’on trouve sur un grand nombre d’arbres et d’arbustes (plutôt en milieux humides) où elle se nourrit de champignons et de lichens, jouant à ce titre un rôle important dans l’écosystème. Sensible à la pollution, Graphopsocus cruciatus constitue un bon indicateur de la qualité de l’air.
La taille des adultes (4-6 mm pour le mâle et 5-7 mm pour la femelle) varie selon l’environnement et le régime alimentaire. Le cycle de vie varie de 60 à 100 jours.
Another curious little insect that I didn't even know existed before it passed in front of the lens! It is a psocid, a category of little-evolved insects that already existed more than 250 million years ago, and particularly a Graphopsocus cruciatus, recognizable by the crossed pattern of its wings (hence its name) and its large head with a brown band. It is found in Europe, North America and Asia and can survive in relatively cool climates. It is a common but little-known species, found on a large number of trees and shrubs (rather in humid environments) where it feeds on fungi and lichens, thus playing an important role in the ecosystem. Sensitive to pollution, Graphopsocus cruciatus is a good indicator of air quality. The size of adults (4-6 mm for the male and 5-7 mm for the female) varies according to the environment and diet. The life cycle varies from 60 to 100 days.
Introduction
Every culture has their symbol of the triumph of "Good over Evil" . This is the statue of the Dancing Shiva, also known as Nataraj, which, in the Hindu culture, symbolizes the triumph of Good over Evil. It was a "mist"ical moment this morning. This statue of the Dancing Shiva reminded me of the Bharat Natyam and Kuchipudi dancers who, before every dance recital, and especially during the Arangetram (a graduation of sorts) ceremonies, say a prayer to him.
A note relating to my roots in Physics
"Fritzof Capra in The Tao of Physics beautifully relates Nataraj's dance with modern physics. He says that "every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction…without end…For the modern physicists, then Shiva's dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomena."
Here's an excerpt from a poem by Ruth Peel:
"The source of all movement,
Shiva's dance,
Gives rhythm to the universe.
He dances in evil places,
In sacred,
He creates and preserves,
Destroys and releases.
We are part of this dance
This eternal rhythm,
And woe to us if, blinded
By illusions,
We detach ourselves
From the dancing cosmos,
This universal harmony…"
Nataraj, the dancing form of Lord Shiva, is a symbolic synthesis of the most important aspects of Hinduism, and the summary of the central tenets of this Vedic religion. The term 'Nataraj' means 'King of Dancers' (Sanskrit nata = dance; raja = king). In the words of Ananda K. Coomaraswamy, Nataraj is the "clearest image of the activity of God which any art or religion can boast of…A more fluid and energetic representation of a moving figure than the dancing figure of Shiva can scarcely be found anywhere," (The Dance of Shiva)
The Origin of Nataraj
An extraordinary iconographic representation of the rich and diverse cultural heritage of India, it was developed in southern India by 9th and 10th century artists during the Chola period (880-1279 CE) in a series of beautiful bronze sculptures. By the 12th century AD, it achieved canonical stature and soon the Chola Nataraja became the supreme statement of Hindu art.
The Vital Form & Symbolism
In a marvellously unified and dynamic composition expressing the rhythm and harmony of life, Nataraj is shown with four hands represent the four cardinal directions. He is dancing, with his left foot elegantly raised and the right foot on a prostrate figure — 'Apasmara Purusha', the personification of illusion and ignorance over whom Shiva triumphs. The upper left hand holds a flame, the lower left hand points down to the dwarf, who is shown holding a cobra. The upper right hand holds an hourglass drum or dumroo that stands for the male-female vital principle, the lower shows the gesture of assertion: "Be without fear." Snakes that stand for egotism, are seen uncoiling from his arms, legs, and hair, which is braided and bejewelled. His matted locks are whirling as he dances within an arch of flames representing the endless cycle of birth and death. On his head is a skull, which symbolises his conquest over death. Goddess Ganga, the epitome of the holy river Ganges, also sits on his hairdo. His third eye is symbolic of his omniscience, insight, and enlightenment. The whole idol rests on a lotus pedestal, the symbol of the creative forces of the universe.
The Significance of Shiva's Dance
This cosmic dance of Shiva is called 'Anandatandava,' meaning the Dance of Bliss, and symbolizes the cosmic cycles of creation and destruction, as well as the daily rhythm of birth and death. The dance is a pictorial allegory of the five principle manifestations of eternal energy — creation, destruction, preservation, salvation, and illusion. According to Coomerswamy, the dance of Shiva also represents his five activities: 'Shrishti' (creation, evolution); 'Sthiti' (preservation, support); 'Samhara' (destruction, evolution); 'Tirobhava' (illusion); and 'Anugraha' (release, emancipation, grace). The overall temper of the image is paradoxical, uniting the inner tranquillity, and outside activity of Shiva.
[Text taken from hinduism.com, HDR by Photomatix Pro]
Disclaimer: I am not a religious person, but some people have accused me of being spiritual, which epithet I will graciously accept :)
People who lead a lonely existence always have something on their minds that they are eager to talk about.
- Anton Chekhov
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
Anche nel suolo più arido e impervio, la resilienza della vita trova sempre il modo di esistere e di resistere.
Lanzarote, dopo una eruzione. la vita ritorna
buona serata
#lanzarote #timanfaya #vulcano #volcano #life #bushes #vita #resilienza #resilience
History of the Theatre per its website
"In spite of the Cairasco Teatro being in existence since 1845, now the location of the present day Gabinete Literario (Literary Cabinet), it was clear to the city of Las Palmas by the middle of the 19th century that the construction of a new theatre was necessary. The main reasons for such a proposal were undeniable faults in the construction of the theatre, an increase in population and interest as well as it being the wish of the ruling class. The city of Las Palmas requested a more ambitious theatral building which was in accordance with the requirements of the society of that period
With this aim in mind, a private joint stock company was founded in 1866 which dealt with problems such as economic matters, the site of the future construction of the building and choosing the architect to take charge of the project. The first matter was taken care of by contributions from people and organisations of great economic power, as well as the unselfish collaboration of the remainder of society, by both the wealthy and the humble citizens.
The decision to locate the new theatre turned out to be more problematic, given that no location could be found which fulfilled all the necessary requirements. Finally the Boca-Barranco or the PescaderÃa (Fishmonger's) was suggested, which met the three main conditions: it was centrally situated, the shape and dimensions were suitable, and the location had easy access and visibility. However its juxtaposition to the sea, to the mouth of the ravine and the fishmonger's caused controversy amongst the citizens. The fact is that witty criticism arose being it captured on sketches and in verse by Benito Pérez Galdós (Who was the stupid patriot? / Who was the vandal patriot? / Who thought of the vaults / of this Aquatic Teatro? ...").
After several formalities and with a certain degree of apprehension by the locals, the architect Francisco Jareño y Alarcon (1818 – 1892), born in Albacete and resident in Madrid, was commissioned to take charge of the works of art for the project. This was to be approved on May 22nd, 1868.
In 1888 and before the impending visit of the famous Italian tenor Roberto Stagno, passing through Gran Canaria on tour with his company on his way to America, the construction works were speeded up so that a recital could be accommodated and funds be raised. However an unfortunate accident occurred in Puerto de La Luz between a French and an Italian tanker causing fifty-five fatalities, precipitating the Tenor's decision and subsequently the decision of the board of directors to donate all the raised funds to the victims of the tragedy. Thus two years later, in 1890, the solemn inauguration of the Tirso de Molina Theatre takes place with The Traviata, causing the promoters to go bankrupt and culminating in the municipal incumbency of the theatre from 1913.
11 years later on the occasion of the grand success of the première of Electra by Benito Pérez Galdós in 1901, during a solemn tribute a proposal was made to name the new theatre after the writer.
On the night of the 28th of June 1918, a large fire destroyed the theatre's wooden structure almost completely. Miguel MartÃn Fernández de la Torre completed the rebuilding works between 1925 and 1928.
Miguel MartÃn asked his brother Néstor, artist and painter, for help to decorate the interior of the building. The job was to do the paintings of the Saint-Saëns Hall, the ceiling over the stalls, the stage and to design the stained glass windows and the curtain. After the building works were completed, the theatre organised a lavish re-opening ceremony on the 28th of May 1928 with the premiere of Aida, a four-act opera by Verdi.
The building was listed as a Monument (BIC, from the Spanish) by the Canary Island Government in 1994.
The restoration and development of the Theatre began in 2004, both of the historical building (public area) as well as of the new extension (area for the artists and administration), including the whole scenario from the stage mouth, premises, annexes and other installations.These building works managed to combine the romanticism of the 19th century construction with the advanced theatre technology of the 21st century, thus making it one of the most complete theatres in the country.
The Teatro Pérez Galdós Theatre re-opened on the 14th of April 2007 with a concert given by the Philharmonic Orchestra of Gran Canaria, directed by its tenured conductor, Pedro Halffter, performing Ludwig van Beethoven's 9th Symphony. The performance was broadcast on giant screens for the audience that congregated outside of the theatre. Moreover, to celebrate the re-opening, the Theatre programmed a whole week of performances of all kinds. There were performances by the Mariinsky Theatre Orchestra of Saint Petersburg and Wagner's opera The Ring of the Nibelungs. The premier of The Ring of the Nibelungs (Ring Cycle)was the perfect vehicle to showcase the new technical and scenic capacities of the Pérez Galdós Theatre, as the first theatre in Spain to put on the entire work in just one week."
When I looked up and saw this lone, tiny tree along the cliffs of Zion's Virgin Narrows I had to shake my head. It's incredible what living things will do to eek out an existence in the harshest of environments. The contrast of the bright yellow autumn foliage against the dark sandstone had me immediately reaching for my camera.
Devi is not a divine soul which is worshiped by human being ..It is the existence of creative power within ourselves .
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Photographer :-
© Sanhita Bhattacharjee
Kalyanpur,Tripura (India) .
Starts Nov 25th!
Includes multiple stores on each sim!
Existence: slurl.com/secondlife/Existence/159/67/22
AITUI: slurl.com/secondlife/AITUI/128/128/41
Hide and Seek: slurl.com/secondlife/Hide%20and%20Seek/135/124/27