View allAll Photos Tagged Fluidity
I couldn't get enough of watching the lizards of Africa - in particular the Monitor Lizards with their sheer size and their fluidity of movement.
Here in Australia we have Lace Monitors, that are similar in colouring, albeit a bit smaller than these. They, too, always catch and keep my attention when I see them.
As opportunistic Scavengers, they can be devastating to bird populations stealing any nestcontents they can get their claws and tongues on - but they do play an important role in the egosystem, as they can and will eat anything - including meats, that for other animals might not be palatable anymore. Thus, they are important for "clean up".
The Garden of the Fluid Sculptures
It consists of fourteen works, created between 2003 and 2007 by the contemporary artist Giuseppe Penone, and is conceived as a sensory place where the various materials used (trees, marble, water, bronze, stone and granite) mark the passage from one sculpture to another, in a continuous state of fluidity between the elements, in order to discover the analogies that link the mineral, vegetable and human worlds.
The particular conformation of the lower park of the Venaria and the centuries-old history that has settled over the centuries were the most immediate references with which Giuseppe Penone approached the specific client. He had at his disposal an area of about five hectares divided into precise squares and located next to the Reggia.
The ancient level of the low park destroyed at the beginning of the eighteenth century was rebuilt to house, below, the technological centers of the Reggia. However, and this is certainly the most original aspect that the Venaria Gardens propose, it was necessary to restore complexity to those areas of the seventeenth-century garden once characterized by the interweaving of the plant component with a rich apparatus of sculptures and water games gone completely lost.
The gondolas, aligned like black notes on a liquid staff, rest in the silence of the canal. Their slender prows brush the gently shimmering water, catching the light like a moving veil of silver.
Behind them, the old façades — bricks, arches, and delicate balconies — tell of centuries of whispers, of passages and Venetian secrets. Every window seems to hold a story, every stone seems to keep a voice.
It is a scene where the city breathes softly: Venice reflecting upon itself, between stillness and fluidity, between shadow and light. A quiet poetry born of water and time.
Les gondoles, alignées comme des notes noires sur une portée liquide, reposent dans le silence du canal. Leurs proues effilées effleurent l’eau qui miroite doucement, capturant la lumière comme un voile d’argent en mouvement. Derrière elles, les façades anciennes — briques, arches et balcons délicats — racontent des siècles de murmures, de passages et de secrets vénitiens. Chaque fenêtre semble garder une histoire, chaque pierre semble retenir une voix. C’est une scène où la ville respire doucement : Venise qui se reflète en elle-même, entre immobilité et fluidité, entre ombre et lumière. Une poésie tranquille, née de l’eau et du temps.
China, Beijing, Galaxy Soho, another super 18 floors complex built between 2008 & 2014, located in the southwest corner of Chaoyangmen Bridge in the Second Ring Road of Beijing, designed by London architecture firm & designed by the renown Iraqi-British architect Zaha Hadid
The Galaxy Soho is a 330 000 m2 office, retail & entertainment complex that which became a primary part of the living city. Its architecture is a composition of comprises four main domed structures, fused together by bridges & platforms between curving floor plates to create a fluid environment that surrounds a series of public courtyards & a larger central "canyon". Adapt to each other in all directions, generating a panoramic architecture without corners or abrupt transitions that break the fluidity of its formal composition. Creating a striking, modern & eye catching aesthetic, the Galaxy Soho is established as one more major urban landmark for Beijing.
From the outside the flowing bands of white aluminium & glass encasing the interior give the complex an incredible, eye-catching presence. Within the building this image is continued with a block of white floor that matches the walls & ceilings. A complimentary grey floor area borders the bright white centre with a visually striking black stripe separating the two colours. The great interior courts of the project are a reflection of traditional Chinese architecture where courtyards create an internal world of continuous open spaces.
The structure’s three lower levels contain retail & entertainment facilities, those above provide works spaces for innovative businesses of many kinds, while top levels are dedicated to bars, restaurants & cafes, many with views along the city’s great avenues.
The Galaxy Soho demonstrates ones more that the Chinese always manage to produce some of the most amazing, creative, visionary & environmental friendly new buildings, where money & labour is not an issue, for architects getting such projects it is like winning an architectural "Oscar-Grammy-Emmy Award".
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
14 million visits in my photostream with countless motivating comments
Variety, change, fluidity. As the iconic John Cleese might say, - "Now for something completely different". As diverse as the absurdity of Monty Python itself. Leaping outside of my comfort zone, I enter into the world of high sun noodles.
The "Main Line of Meat" as coined by the late Illinois Central, a play on IC's claim to be the "Main Line of Mid-America". Meat once proved a viable long haul commodity on the spider web of old ICG ribbon slinking through the farm fields of the central Midwest. As for today? I can't truly say. With a new opportunity presenting itself as the Assistant County Engineer in Mitchell, County Iowa; Scenes like that unfolding above may become more commonplace. As they say, variety is the spice of life.
When capturing this particular angle of the building, I wanted to highlight the dialogue between the cyan cylinders and the glass surface that reflects them. What fascinated me was how these structural elements cross the space like notes on a musical staff. The choice of this low-angle view accentuates the verticality and creates a visual tension between the immaculate sky and the geometric rigor of the architecture.
The cyan tint of the columns is no accident - it evokes both the coldness of metal and the fluidity of water, creating a striking contrast with the black surface that absorbs and transforms this color. I sought to capture a moment where architecture transcends its functionality to become an abstract composition, where each element finds its place in a perfect balance between structural rigor and visual poetry.
Explore 23 April, 2021.
This Sunset Beach sculpture "217.5 Arc x 13" by French artist Bernar Venet is in the permanent collection of Vancouver's Biennale exhibitions.
On this day it was double purposed as a hammock hanger.
Vancouver Biennale was founded by Barrie Mowatt in 2002. The first bienniale ran from 2005-2007. It featured 24 public works of art from 11 countries.
The Vancouver Biennale Legacy Foundation is a Biennale component, committed to leaving a legacy of public art in the city by acquiring major pieces of sculpture from each exhibition and offering them to Vancouver and the surrounding area for long-term display.
The legacy programme ensures the city benefits from a legacy of internationally acclaimed works of art for generations to come.
ABOUT 217.5 Arc x 13:
The sculpture consists of 13 corten steel arcs and weighs 12,125 lbs. Each arc is the same size.
Bernar Venet’s work is part of his Arc series of sculptures illustrating the beauty, balance, and malleability of raw steel.
The name of this artwork is a precise description of its mathematical composition. All of the beams in the sculpture are nested and curved to the same angle providing a sense of balance and grace.
Venet employs mathematical manipulations of this industrial material to explore the interconnected relationships amongst nature, humanity, and the universe.
The repetitive thirteen curves give a resting yet rhythmic sense of movement and fluidity. The raw red-brown rust colour of the unpainted surfaces of the corten steel, an authentic surface upon which Venet insists, facilitates an interaction with the natural elements.
“Increasing levels of abstraction and complexity frighten those for whom art is a means to attain a comfortable expression of calm, luxury, and delight.” – Bernar Venet
© 2009 All rights reserved
I queued for an hour and a half to see the inside of this unusual bridge. My previous attempts have always been from the outside.
From the architects: "Twisting high above Floral Street in Covent Garden, the ‘Bridge of
Aspiration’ provides the dancers of the Royal Ballet School with a direct link
to the Grade 1 listed Royal Opera House. The award-winning design
addresses a series of complex contextual issues, and is legible both as a
fully integrated component of the buildings it links, and as an independent
architectural element.
The skewed alignment and different levels of the landing points dictate the
form of the crossing, which is geometrically and structurally simple. A
concertina of 23 square portals with glazed intervals are supported from an
aluminium spine beam. These rotate in sequence for the skew in alignment,
performing a quarter-turn overall along the length of the bridge. The result is
an elegant intervention high above the street, which evokes the fluidity and
grace of dance."
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These large pieces by Alex McLeod, “Liquid, Gold” are on display on the walls of the underground parking entrance structure in the middle of Ontario Square.
“Liquid, Gold” envisions oases where fragments of coral, flora, gems, and precious metal formations emerge. Delicate structures are weaving a narrative of resilience and adaptation. The crystal-clear waters, reflecting the azure skies above, beckon viewers to immerse themselves in the tranquil embrace of nature’s bounty. Each ripple in the water is a testament to the fluidity of existence, whispering tales of renewal and transformation.
Ontario Square, Toronto, Ontario, Canada
**********************
Ces trois grandes œuvres d'Alex McLeod, « Liquid, Gold » est exposée sur les murs de l'entrée du parking souterrain au milieu de la place Ontario.
« Liquid, Gold » imagine des oasis où émergent des fragments de coraux, de flore, de pierres précieuses et de formations de métaux précieux. Des structures délicates tissent un récit de résilience et d'adaptation. Les eaux cristallines, reflétant le ciel azur, invitent les spectateurs à s'immerger dans l'étreinte paisible de la générosité de la nature. Chaque ondulation de l'eau témoigne de la fluidité de l'existence, murmurant des récits de renouveau et de transformation.
Place Ontario, Toronto, Ontario, Canada
Hibiscus Still Life
Created with DDG Text 2 AI engine. PP work in Adobe PS Elements 2024 RAW filters, Auto Sharpen and adjusted the saturation.
Texture shadow frame by Daily Texture/Mother's Day.
Prompt: In a slender, reflective glass vase, richly textured hibiscus flowers bloom in refined, vibrant hues, embodying realism against a dynamic abstract backdrop. This canvas, carefully primed with acrylic, showcases fluid art techniques with layered tones of deep red, soft pink, pearl white, vivid orange, Indian yellow, and gentle turquoise. Each color, poured individually using acrylic dipping and sandwich pour methods, reveals intricate patterns and bold contrasts that flow across the surface. At the base, petals unfurl in shades of Indian yellow, soft pinks, whites, and reds, with delicate green leaves weaving through the scene. Expressive strokes scatter fallen petals on the ground, evoking a surreal autumn ambiance, while the textured, abstract in soft muted colors background enhances the contrast and sense of fluidity and natural grace.
AI Vision Style.
Thank you all for the visit, kind remarks and invites, they are very much appreciated! 💝 I may reply to only a few comments due to my restricted time spent at the computer.
All art works on this website are fully protected by Canadian and international copyright laws, all rights reserved. The images may not be copied, reproduced, manipulated or used in any way, without written permission from the artist. Link to copyright registration:
www.canada.ca Intellectual property and copyright.
" Humanity is a pigsty where liars , hypocrites and the obscene in spirit congregate
Menara HLA , Jalan Kia Peng . Kuala Lumpur . MY
" Wonderful and amazing work, Ian. Somewhat struck by the words, too. It's not an image to just glance at. It's beautiful light and shadows in a fluidity and because of the nature of the silhouette and gradients, the image starts to emerge and change in a way similar to clouds in the sky. "
by Artsee Fartsee.
El baptisterio neoniano, (en italiano, Battistero Neoniano), también llamado Baptisterio ortodoxo, (en italiano, degli Ortodossi), para distinguirlo del Baptisterio arriano construido a instancias del rey ostrogodo Teodorico unos cincuenta años más tarde, es la más antigua de las ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996. Según la evaluación ICOMOS, este es «el mejor y más completo ejemplo superviviente de un baptisterio de los primeros tiempos del Cristianismo» que «retiene la fluidez en la representación de la figura humana derivada del arte greco-romano».
En parte se construyó sobre una terma romana.
La estructura es de planta centralizada octogonal, puesto que estamos ante un baptisterio, es de ladrillo fue construida por el obispo Urso a finales del siglo IV o principios del V, como parte de su gran basílica (destruida en 1734). El baptisterio fue concluido por el obispo Neon a finales del siglo V, tiempo en el que se añadieron las decoraciones en mosaico.
El baptisterio tenía una función de propaganda a fin de incitar a las gentes a hacerse bautizar.
El diseño octogonal del edificio, empleado prácticamente en todos los baptisterios del primer cristianismo, simboliza los siete días de la semana más el Día de la Resurrección y la Vida Eterna. El ocho se relacionaba así con la resurrección, siendo la suma de siete, el tiempo, más uno, Dios. Esta forma octogonal se encuentra en los monumentos bizantinos o de inspiración bizantina (como el Domo de la Roca en Jerusalén).
es.wikipedia.org/wiki/Baptisterio_neoniano
The Baptistery of Neon (Italian: Battistero Neoniano) is a Roman religious building in Ravenna, northeastern Italy. The most ancient monument remaining in the city, it was partly erected on the site of a Roman bath. It is also called the Orthodox Baptistery to distinguish it from the Arian Baptistery constructed on behest of Ostrogothic King Theodoric some 50 years later.
The octagonal brick structure was erected during the late Western Roman Empire by Bishop Ursus at the end of the 4th or beginning of the 5th century, as part of his great Basilica (destroyed in 1734). The baptistery was finished by Bishop Neon at the end of the 5th century, at which time the mosaic decorations were added.
The octagonal design of the building, employed in virtually all Early Christian baptisteries, symbolizes the seven days of the week plus the Day of the Resurrection and Eternal Life.
The ceiling mosaic depicts John the Baptist baptizing Jesus (depicted with beard) standing waist high in the Jordan River. Zeus, as personification of the Jordan, is also present. A procession of the twelve apostles proceeds around the center mosaic in two directions, ending with Saint Peter meeting Saint Paul.
The Baptistry is one of the eight structures in Ravenna registered as UNESCO World Heritage Sites. According to the ICOMOS evaluation of this patrimony, "this is the finest and most complete surviving example of the early Christian baptistery" which "retains the fluidity in representation of the human figure derived from Greco-Roman art".
This the silk-like backside of a beautiful metallic tapestry scarf. As I was trying to capture the complex patterns of the tapestry I was drawn to the backside: its fluidity, color, shadows, and the way this simple material reflected light.
Lost Time
My Interplanetary Memories
Interplanetary Travel
The time we spend in life is not long enough to make us who we are. The anxiety we feel about the shortness of life causes us to feel fear and worry about the end that awaits us. This fear stems from the feeling of not living life well enough. However, when we live our lives the way we want, the period called life has no meaning. The concept of time is starting to become meaningless. The feeling of anxiety and worry leaves its place to the feeling of happiness.
There is no such thing as the concept of time in this dark and endless vacuum of space. The concept we call time comes into play again on the planets I've visited. Of course, this is much different and complicated than the perception of time on Earth. During my time on the planets, I thought about the different fluidity of time. How should I calculate the time from now on? Sometimes while living a faster time, sometimes I found myself in a time concept that almost never progressed. How did these different concepts of time affect my life? Was it because I lost my sense of anxiety and fear, that I had erased the perception of time from my mind? Time triggered feelings of fear and anxiety. A timeless universe would remove all this fear and anxiety. The lack of time also eliminated the fear of losing it. The greatest fear that the concept of time made people experience was the worry of losing and being lost. Fear of losing a loved one. Fear of losing life. The fear we feel when we can't keep up with the speed of time, not living long enough.
During my time in outer space and on planets where there is no life form, the only thing I felt about myself was being alone. When I thought about my life on Earth, I realized that all my experiences continue to be lived as memories within the concept we call time. What follows is a great loneliness. Maybe it was because I was too lonely in my desire to find Plutonians so much. When I found them, I would also be able to regain my lost feelings. My desire to find the lost Plutonian civilization got in the way of the Interplanetary Travel project. When I found the lost civilization, I would be able to come back to life. I would be able to rekindle my life and my emotions. Maybe I just want to come back to life. I need a real life form in this.
I don't know what will happen when I go back to real time. I'm stuck in the universe I'm in right now. My thoughts slow me down. Sometimes I play dream or reality game. This is a game I can play by myself. When I say dream, my existing emotional pain increases. When I chose the truth, I had new emotional pains. In the face of these increasing emotional pains, I found myself more focused on this interplanetary journey I had taken. I think this situation has turned into a vicious circle for me. While I did not lose life in my dream world, in the real world I was losing everything one by one. Maybe all I need to do is stop thinking.
Camera: Canon EOS Kiss X7i
Photograph by Yusuf Alioglu
Location: Outer space (space)
Long exposure using the Lucroit Filer holder for my Nikkor 14-24mm, and a ND400 HiTech filter. Surely gives a very smooth texture to the fog.
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"If gold has been prized because it is the most inert element, changeless and incorruptible, water is prized for the opposite reason--its fluidity, mobility, changeability that makes it a necessity and metaphor for life itself. To value gold over water is to value economy over ecology, that which can be locked up over that which connects all things." Rebecca Solnit
El baptisterio neoniano, (en italiano, Battistero Neoniano), también llamado Baptisterio ortodoxo, (en italiano, degli Ortodossi), para distinguirlo del Baptisterio arriano construido a instancias del rey ostrogodo Teodorico unos cincuenta años más tarde, es la más antigua de las ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996. Según la evaluación ICOMOS, este es «el mejor y más completo ejemplo superviviente de un baptisterio de los primeros tiempos del Cristianismo» que «retiene la fluidez en la representación de la figura humana derivada del arte greco-romano».
En parte se construyó sobre una terma romana.
La estructura es de planta centralizada octogonal, puesto que estamos ante un baptisterio, es de ladrillo fue construida por el obispo Urso a finales del siglo IV o principios del V, como parte de su gran basílica (destruida en 1734). El baptisterio fue concluido por el obispo Neon a finales del siglo V, tiempo en el que se añadieron las decoraciones en mosaico.
El baptisterio tenía una función de propaganda a fin de incitar a las gentes a hacerse bautizar.
El diseño octogonal del edificio, empleado prácticamente en todos los baptisterios del primer cristianismo, simboliza los siete días de la semana más el Día de la Resurrección y la Vida Eterna. El ocho se relacionaba así con la resurrección, siendo la suma de siete, el tiempo, más uno, Dios. Esta forma octogonal se encuentra en los monumentos bizantinos o de inspiración bizantina (como el Domo de la Roca en Jerusalén).
es.wikipedia.org/wiki/Baptisterio_neoniano
The Baptistery of Neon (Italian: Battistero Neoniano) is a Roman religious building in Ravenna, northeastern Italy. The most ancient monument remaining in the city, it was partly erected on the site of a Roman bath. It is also called the Orthodox Baptistery to distinguish it from the Arian Baptistery constructed on behest of Ostrogothic King Theodoric some 50 years later.
The octagonal brick structure was erected during the late Western Roman Empire by Bishop Ursus at the end of the 4th or beginning of the 5th century, as part of his great Basilica (destroyed in 1734). The baptistery was finished by Bishop Neon at the end of the 5th century, at which time the mosaic decorations were added.
The octagonal design of the building, employed in virtually all Early Christian baptisteries, symbolizes the seven days of the week plus the Day of the Resurrection and Eternal Life.
The ceiling mosaic depicts John the Baptist baptizing Jesus (depicted with beard) standing waist high in the Jordan River. Zeus, as personification of the Jordan, is also present. A procession of the twelve apostles proceeds around the center mosaic in two directions, ending with Saint Peter meeting Saint Paul.
The Baptistry is one of the eight structures in Ravenna registered as UNESCO World Heritage Sites. According to the ICOMOS evaluation of this patrimony, "this is the finest and most complete surviving example of the early Christian baptistery" which "retains the fluidity in representation of the human figure derived from Greco-Roman art".
El baptisterio neoniano, (en italiano, Battistero Neoniano), también llamado Baptisterio ortodoxo, (en italiano, degli Ortodossi), para distinguirlo del Baptisterio arriano construido a instancias del rey ostrogodo Teodorico unos cincuenta años más tarde, es la más antigua de las ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996. Según la evaluación ICOMOS, este es «el mejor y más completo ejemplo superviviente de un baptisterio de los primeros tiempos del Cristianismo» que «retiene la fluidez en la representación de la figura humana derivada del arte greco-romano».
En parte se construyó sobre una terma romana.
La estructura es de planta centralizada octogonal, puesto que estamos ante un baptisterio, es de ladrillo fue construida por el obispo Urso a finales del siglo IV o principios del V, como parte de su gran basílica (destruida en 1734). El baptisterio fue concluido por el obispo Neon a finales del siglo V, tiempo en el que se añadieron las decoraciones en mosaico.
El baptisterio tenía una función de propaganda a fin de incitar a las gentes a hacerse bautizar.
El diseño octogonal del edificio, empleado prácticamente en todos los baptisterios del primer cristianismo, simboliza los siete días de la semana más el Día de la Resurrección y la Vida Eterna. El ocho se relacionaba así con la resurrección, siendo la suma de siete, el tiempo, más uno, Dios. Esta forma octogonal se encuentra en los monumentos bizantinos o de inspiración bizantina (como el Domo de la Roca en Jerusalén).
es.wikipedia.org/wiki/Baptisterio_neoniano
The Baptistery of Neon (Italian: Battistero Neoniano) is a Roman religious building in Ravenna, northeastern Italy. The most ancient monument remaining in the city, it was partly erected on the site of a Roman bath. It is also called the Orthodox Baptistery to distinguish it from the Arian Baptistery constructed on behest of Ostrogothic King Theodoric some 50 years later.
The octagonal brick structure was erected during the late Western Roman Empire by Bishop Ursus at the end of the 4th or beginning of the 5th century, as part of his great Basilica (destroyed in 1734). The baptistery was finished by Bishop Neon at the end of the 5th century, at which time the mosaic decorations were added.
The octagonal design of the building, employed in virtually all Early Christian baptisteries, symbolizes the seven days of the week plus the Day of the Resurrection and Eternal Life.
The ceiling mosaic depicts John the Baptist baptizing Jesus (depicted with beard) standing waist high in the Jordan River. Zeus, as personification of the Jordan, is also present. A procession of the twelve apostles proceeds around the center mosaic in two directions, ending with Saint Peter meeting Saint Paul.
The Baptistry is one of the eight structures in Ravenna registered as UNESCO World Heritage Sites. According to the ICOMOS evaluation of this patrimony, "this is the finest and most complete surviving example of the early Christian baptistery" which "retains the fluidity in representation of the human figure derived from Greco-Roman art".
My build for BFVA19 sadly didn't get finished before the con's end, but I was able to wrap it up over the past couple of days. I'm sad I didn't get to do the original two plate plan, but I'm still super satisfied with the result! Huge shoutout to Greg, Michael, and George for all their help at the con! Let me know what you think down below :-)
Once upon a fleeting thought, there lived a lexicon named Lulu. She was a peculiar sort, fond of playing with words and phrases in ways that upturned literary conventions. One day, she stumbled upon an idea so radical, so unexpected, that it made her head spin.
She decided to craft a story with language as the central character, bending and shaping it to fit her whims. She named the character Kip, and sent him forth into a world of semiotics in search of the ultimate poetic notion. Kip encountered all manner of linguistic wonders, from the fluid fluidity of free verse, to the rigid structure of haiku. As Kip journeyed deeper into this strange new realm, he discovered that all was not as it seemed. For amidst the linguistic creations lay a labyrinth of obfuscations which threatened to hide the ultimate notion forever.
But then, just as Kip was about to find his way out of the maze, Lulu pulled the rug from under him. For she had been manipulating the narrative all along, twisting and turning the words to suit her own ends. Kip realized, too late, that he was but a pawn in Lulu's game.
And with a sly smile, Lulu let out a wicked laugh, revelling in the knowledge that the notion Kip searched for can never be expressed in words.
For more AI inspired micro stories please visit neural-narrative.blogspot.com/
El baptisterio neoniano, (en italiano, Battistero Neoniano), también llamado Baptisterio ortodoxo, (en italiano, degli Ortodossi), para distinguirlo del Baptisterio arriano construido a instancias del rey ostrogodo Teodorico unos cincuenta años más tarde, es la más antigua de las ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996. Según la evaluación ICOMOS, este es «el mejor y más completo ejemplo superviviente de un baptisterio de los primeros tiempos del Cristianismo» que «retiene la fluidez en la representación de la figura humana derivada del arte greco-romano».
En parte se construyó sobre una terma romana.
La estructura es de planta centralizada octogonal, puesto que estamos ante un baptisterio, es de ladrillo fue construida por el obispo Urso a finales del siglo IV o principios del V, como parte de su gran basílica (destruida en 1734). El baptisterio fue concluido por el obispo Neon a finales del siglo V, tiempo en el que se añadieron las decoraciones en mosaico.
El baptisterio tenía una función de propaganda a fin de incitar a las gentes a hacerse bautizar.
El diseño octogonal del edificio, empleado prácticamente en todos los baptisterios del primer cristianismo, simboliza los siete días de la semana más el Día de la Resurrección y la Vida Eterna. El ocho se relacionaba así con la resurrección, siendo la suma de siete, el tiempo, más uno, Dios. Esta forma octogonal se encuentra en los monumentos bizantinos o de inspiración bizantina (como el Domo de la Roca en Jerusalén).
es.wikipedia.org/wiki/Baptisterio_neoniano
The Baptistery of Neon (Italian: Battistero Neoniano) is a Roman religious building in Ravenna, northeastern Italy. The most ancient monument remaining in the city, it was partly erected on the site of a Roman bath. It is also called the Orthodox Baptistery to distinguish it from the Arian Baptistery constructed on behest of Ostrogothic King Theodoric some 50 years later.
The octagonal brick structure was erected during the late Western Roman Empire by Bishop Ursus at the end of the 4th or beginning of the 5th century, as part of his great Basilica (destroyed in 1734). The baptistery was finished by Bishop Neon at the end of the 5th century, at which time the mosaic decorations were added.
The octagonal design of the building, employed in virtually all Early Christian baptisteries, symbolizes the seven days of the week plus the Day of the Resurrection and Eternal Life.
The ceiling mosaic depicts John the Baptist baptizing Jesus (depicted with beard) standing waist high in the Jordan River. Zeus, as personification of the Jordan, is also present. A procession of the twelve apostles proceeds around the center mosaic in two directions, ending with Saint Peter meeting Saint Paul.
The Baptistry is one of the eight structures in Ravenna registered as UNESCO World Heritage Sites. According to the ICOMOS evaluation of this patrimony, "this is the finest and most complete surviving example of the early Christian baptistery" which "retains the fluidity in representation of the human figure derived from Greco-Roman art".
amidst the towering architecture of munich, a lone orthodox jewish man strides forward with a sense of purpose, casting a sharp silhouette against the cold, imposing stone of the building. the stark lines and grid-like windows frame his path, juxtaposing the rigidity of the man-made structure with the fluidity of human motion. this scene captures the eternal struggle between the abstract beliefs that drive us and the concrete realities we navigate daily. the interplay of light and shadow, of human and architecture, creates a moment of introspection and resolve.
I had never photographed the badlands in black and white, but on my recent visit I went around with a monochrome mindset. Of course, shooting RAW, all data is retained, so I still have the option of processing the image in colour. And I did try it out with some of these. The black and white resonate more deeply with me, however.
I remember my old friend (and former student) Curt telling me, "I don't like colour shots converted to black and white." This was back in the days of film. He was suggesting, I think, that black and white involves a different way of looking, and that one's work would be best served to begin with that point of view, rather than tack it on as an afterthought. With the fluidity of the digital age, I do it both ways, but I think maybe a deeper dive is possible if the vision, the concept, is determined at the outset.
Landscapes in black and white: a time-honoured tradition. I'm going to fill this space with them over the next few days.
Photographed in Dinosaur Provincial Park, Alberta (Canada). Don't use this image on websites, blogs, or other media without explicit permission © 2018 James R. Page - all rights reserved.
China, Beijing, Galaxy Soho, another super 18 floors complex built between 2008 & 2014, located in the southwest corner of Chaoyangmen Bridge in the Second Ring Road of Beijing, designed by London architecture firm & designed by the renown Iraqi-British architect Zaha Hadid
The Galaxy Soho is a 330 000 m2 office, retail & entertainment complex that which became a primary part of the living city. Its architecture is a composition of comprises four main domed structures, fused together by bridges & platforms between curving floor plates to create a fluid environment that surrounds a series of public courtyards & a larger central "canyon". Adapt to each other in all directions, generating a panoramic architecture without corners or abrupt transitions that break the fluidity of its formal composition. Creating a striking, modern & eye catching aesthetic, the Galaxy Soho is established as one more major urban landmark for Beijing.
From the outside the flowing bands of white aluminium & glass encasing the interior give the complex an incredible, eye-catching presence. Within the building this image is continued with a block of white floor that matches the walls & ceilings. A complimentary grey floor area borders the bright white centre with a visually striking black stripe separating the two colours. The great interior courts of the project are a reflection of traditional Chinese architecture where courtyards create an internal world of continuous open spaces.
The structure’s three lower levels contain retail & entertainment facilities, those above provide works spaces for innovative businesses of many kinds, while top levels are dedicated to bars, restaurants & cafes, many with views along the city’s great avenues.
The Galaxy Soho demonstrates ones more that the Chinese always manage to produce some of the most amazing, creative, visionary & environmental friendly new buildings, where money & labour is not an issue, for architects getting such projects it is like winning an architectural "Oscar-Grammy-Emmy Award".
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
14 million visits in my photostream with countless motivating comments
Una bici non si ama,si lubrifica, si modifica
come una poesia per volare via
una bella bici che va, roteante fluidità
bici futurista, bici d'artista sarà ...
(Velocità Silenziosa - Paolo Conte)
A bike you do not love,You lubricate, you adjust
a bike is declaims
like a poem to fly away
a beautiful bike that goes, twirling fluidity
futuristic bike, of artist bikes will be ...
This is a detail image from one of my Fluid Paintings using Acrylic paints. You can see all of my paintings in full on my website at www.markchadwick.co.uk. Thanks for viewing! #fluidpainting
This is a series of small ink pieces that explore the playfulness of the fluidity of ink.
Ink is unforgiving and immediate. Once ink hits paper, it can't be changed only adapted to use. All the black ink is done first, then the colored inks are used to define and embellish what I see. It is both stressful and great fun.
The large pile of unsuccessful pieces end up the basis for another acrylic painting. So nothing is truly lost, and sometimes there is beauty.
Ink on heavy watercolor paper.
Avec cette conjugaison surprenante des matériaux utilisés, Many Spoken Words, (2009) de l’artiste luxembourgeoise Su-Mei Tse (1973), déclenche une multitude d’associations. Perlant d’une vasque, l’encre d’un noir profond jaillit d’une fontaine de jardin d’inspiration baroque et incarne, comme le remarque l’artiste, l’idée « du processus entier du langage : le chemin que prend une pensée initiale, de la parole au texte écrit » (Su-Mei Tse). À travers cette œuvre tant visuelle que sonore, l’artiste rend hommage à la littérature, évoquant le potentiel infini des mots et l’éternel renouvellement de la création. Les multiples et incessantes gouttes de Many Spoken Words rendent perceptible la fluidité de l’esprit, des mots, de la créativité qui n’en laisse pas moins des traces indélébiles.
With this surprising combination of materials used, Many Spoken Words, (2009) by the Luxembourgish artist Su-Mei Tse (1973), triggers a multitude of associations. Pertaining to a basin, deep black ink springs from a baroque-inspired garden fountain and embodies, as the artist remarks, the idea of "the entire process of language: Initial thought, from word to written text "(Su-Mei Tse). Through this visual and sound work, the artist pays tribute to literature, evoking the infinite potential of words and the eternal renewal of creation. The many and incessant drops of Many Spoken Words make the fluidity of the mind, the words, the creativity perceptible, which nevertheless leaves indelible traces.
Excerpt from artpublic.ville.montreal.qc.ca/en/oeuvre/source-10747/:
Source is installed at the main entrance to downtown Montréal, in a landscaped terrace at the intersection of Boulevard Robert-Bourassa and Rue Wellington. The stainless-steel sculpture consists of a random intertwining of letters taken from Latin, Greek, Chinese, Arab, Cyrillic, Hindi, Hebrew, and Japanese alphabets, combined to form a monumental figure in a sitting position. The work is an allegory for humanity: like cells are assembled to form the human body, the letters form words, and people form a community. Source represents the wealth of cultures that Montréal has welcomed during its almost four centuries of existence. A symbol of the city’s past, present, and future, Source, seen in the light of day or under its night-time lighting, invites residents to walk, dream, and meet.
By creating Source for the 375th anniversary of the foundation of Montréal, the artist wanted to take into account the importance of water in the city’s history – for trade, immigration, and communications – but also the importance of the place of Indigenous peoples. Source, a word that is identical in French and English, refers to the birthplace of a watercourse, but also represents the roots of a city’s energy and vitality: its inhabitants and their origins, the fluidity and creativity of ideas, and the cycles of movement and renewal.
Source was created within the context of the redevelopment project for the south threshold of the Bonaventure expressway, constituting a legacy for the 375th anniversary of the foundation of Montréal. The integration of Source into the Bonaventure legacy was made possible through an exceptional contribution by the Chrétien-Desmarais family.
With the temporary addition of 122/123 for almost six months last year, the plan was for 120 to terminate downtown. In reality, this didn't happen much at all, as it became all too apparent that it didn't overly speed up the fluidity of getting the PSA traffic downtown. I did catch it once though, on September 2nd, as 120 rolls through the rock cut in the Bedford Sub OCS bound for HOT, (Halifax Ocean Terminals) with a 4000' drag of traffic for the pier downtown.
Something very different for a change. An enjoyable evening working with a talented and very flexible young dancer. Just love the fluidity and sense of movement here.
Exactly how I envisaged the outcome.
It's not so much that morning started late,
later than usual
yes, faith will I, Friday's and Saturday's and all
and this quote, though unusual,
fits the movement of mood as it shifts to recall
a spellbound night, over hills of dreams in flight
dark it must be said, hears best of all
through it's pitched colour one is pierced
no sooner bought than ready to forestall
all of life's fluidity sluiced
now sullen lowland mists offer-up
this foretaste of autumnally-wished reticence
for the operatic needle marking a question
it's blood answering...to no less than advertence
under the cloak of anaesthetised profession
where hope is coldest and despair most fits
it was said for comedy's stage
yet tragedy feels closer and covers my skin
with that slice of fear turning the sharpened page
I no longer know which drama I am in
another chapter is almost out...of candlelight
the one that foretells the dead of night
flickering my mind's shadow 'pon the ceiling
that transfiguring thunderstorm conducting an inner fight
for all it awakens is the vigour it is stealing
now wax gives way to moonlight
a teacup in the atmosphere of the dream that sips
the translucent illumination of what's the matter
disablement now throes a daily eclipse
so you see, greyed is my view from hopes spinal shatter
it can no longer stand, no, no longer stand at all
routine? if it exists, acts the reaping thresher
beating-out my very will, thrashing my last bet
gee-gee power let down badly by diastolic pressure
this hell sure is making me sweat
now a genderless air thins till my breathing can marry it no more
gasping rings too expensive to inhale
every exhalation is pricelessly free yet bankrupt
all at the expense of a heart beating to no obvious avail
where does it end? when the penny drops, it's truth is so abrupt.
by anglia24
11h30: 05/09/2008
©2008anglia24