View allAll Photos Tagged Fluidity
If a second equates to a snapshot, then an interaction equates to a continuous video sequence. When one simply observes a particular scenario, that person experiences quite the show; in the case of the ol' classic trails, I was treated with an infinite amount of color for only as long as my a6000's camera was told to do--only a mere 30 seconds. Ha--just a lil' reminder to process our respective day more like a[n uninterrupted] video clip and less like a snapshot--where we have a pretty narrow understanding and recollect of X-particular moment.
Photo captured via Minolta AF-Maxxum 16mm Fisheye F/2.8 lens. City of Spokane. Spokane County, Washington. Mid January 2023.
Exposure Time: 30 sec. * ISO Speed: ISO-100 * Aperture: F/22 * Bracketing: None * Color Temperature: 2950 K ** Color Grading: Kodak E100VS
Radha’s heart,
Paths to Kṛṣṇa,
Love’s journey unfolds.
In the Hindu tradition, Lord Kṛṣṇa is often depicted as having both male and female qualities, which is known as Ardhanarishvara. Therefore, some male devotees of Lord Krishna choose to dress as women to express their devotion and to emulate the gender fluidity of the deity.
This practice is known as "Radha Bhava" or "Radha Bhakti" and is particularly popular among the followers of the Gaudiya Vaishnavism sect of Hinduism. Radha, who is believed to be a female companion and lover of Lord Krishna, is considered the embodiment of devotion and love for the deity. By dressing as Radha, male devotees hope to experience the same love and devotion that she had for Lord Krishna. The practice is also seen as a way to overcome gender and social barriers in expressing devotion to the deity.
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
The Opus
Design Architect: Zaha Hadid Architects
Lead Consultant/Architect of Record: Brewer Smith Brewer Group – BSBG
Client: Omniyat
Main Contractor: Multiplex
Structural Engineer: BG&E
Façade Consultant: Koltay Façades
Façade Fabricator: Alu Nasa + Permasteelisa Group
Type: Mixed-use (Hotel, Offices, Serviced Residences, F&B)
Hotel: ME Dubai by Meliá
Height: approx. 93 m
Floors: G + 22
Approx. GFA: 84,300–93,000 m²
Completion: 2018
The Opus is designed as a pure glass cube carved by a fluid void; a subtractive design move contrasts solid geometry with organic, parametric forms. This eroded space divides the mass into two towers while maintaining one visual identity, creating a dynamic interplay of glazing, shadow, and spatial composition. The concept reflects Zaha Hadid Architects’ philosophy of fluidity, movement, and iconic façade design, making it a strong reference for architects and interior designers exploring contemporary mixed-use architecture.
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Excerpt from agb.life/visit/exhibitions/holding_up_the_sky:
Caroline Monnet: Holding Up The Sky
Lee-Chin Family Gallery
In this survey of new and recent works, multidisciplinary artist Caroline Monnet centers geometries, especially the cube, to draw attention to how different spatial relationships condition the way that we live and think. Monnet’s practice moves between textiles, photography, sculpture, and film to address the complexity of Indigenous identities and bilateral legacies, drawing from her Anishinaabe and French heritages. In her work, traditional Anishinaabe sacred geometry transforms and softens the industrial into something more personal, constructing a new point of view—centering the cube. As a form, the cube is present in architecture and many traditions of building, shaping the way we understand the world and dictating the ways in which we live, play, and learn. And, like the repetitious creations unfolded in birch biting, Holding Up The Sky follows a symmetrical continuum.
The exhibition features her new work The Room (2023), a ten-foot square construction of industrial-grade styrofoam, a material used in residential buildings to create water and air-resistive barriers and insulate against inclement climate conditions. The Room is open on one side, exposing the box and welcoming the audience into its constructed space. The foam is incised with a repetitive pattern; the motifs, inspired by traditional Anishinaabe iconography, break the strictness of the industrial square form by introducing the personal and the poetic into architectural rigidity.
In conversation with The Room is Pikogan (Shelter) (2021), a sculptural work with voluminous curvatures constructed of reticulated polyethylene pipes, PVC conduits, copper, velcro, and steel. The materials are bent to shape, working against the prescription of colonial architecture, and resisting the urge to square and compartmentalize. The fluidity of the circle intentionally builds from knowledge rooted in the past. This can also be seen in the direction of Monnet’s recent photographic works that depict a formal arranging and rearranging of foam “beads” into cubed borders. Manipulating the material for the camera leads to endless possible formations and configurations.
A series of technical drawings from Monnet’s early career (2014) of multiple cube structures are seen alongside a new series of diagrams, completed in a Swedish residency, mapping the ceiling of her studio. Positioning these works in conversation illustrates the circular process of Monnet’s practice—from drafting architectural forms, to utilizing structural design to underscore the severity of the housing crisis, to manipulating industrial material into textile creations and wearable fabrics, and returning to schematic renderings and geometric linework. These are simultaneously performances for the camera and blueprints for future work.
Born to an Anishinaabe mother and a French father, Caroline Monnet is from Outaouais, Québec, and now based in Montréal. After studying at the University of Ottawa and the University of Granada, in Spain, she pursued a career in visual arts and film. Her work is regularly presented internationally and can be found in prestigious museum, private, and corporate collections. Monnet has become known for minimalist yet emotionally charged work that uses industrial materials and combines the vocabulary of popular and traditional visual cultures with the tropes of modernist abstraction to create unique hybrid forms. She is represented by Blouin Division Gallery.
At the AGB, we lean into our unique position of being a public art gallery at the crossroads of craft and contemporary art production and presentation. Monnet’s work examines the traditional craft of Anishinaabe embroidery and textiles in alternative methods and materials, exemplifying the potent fluidity of craft and contemporary art. Holding Up The Sky continues the dialogue on how new material engagement takes up space within craft and how traditional and ancestral knowledge of art production is being represented in the expanded field of contemporary art institutes.
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".
When completed, this 60-storey building in downtown Calgary will incorporate office and residential space. The unusual curve and reflexive coating gives it a look of fluidity.
Upon completion at the end of this year it will be the third tallest building in Calgary behind Brookfield Place and The Bow, standing at 729 ft / 222 m.
It's good to be goal-directed. Having a goal, or even a shoot list, gets me out of the house, motivated, active, and engaged; all good. But I also try to leave a blank spot on the map, a "nothing zone" inside myself, to allow for the unexpected and perhaps even for the miraculous. And there are days when I am able to go out with a blank mind (well, as blank as possible) - perhaps it's better to refer to it as an open mind. And by that I mean being open to anything and everything good that comes my way, without preconceptions or self-judgement. This is an important part of the creative process, and it can result in a mental fluidity wherein "anything goes". If I'm really, really lucky, something great will emerge.
I was in just such a state of mind one morning in June. I got out reasonably early and drive one of the local backroads. Just looking. Stopping frequently, getting out to look some more, this time not at speeds of 30 mph or more, but just standing there, and of course this allowed me to listen, too, and smell whatever my feeble nose could discern on the breeze. I think I touched things. I don't recall tasting anything. At any rate, I was engaging most of my senses in the experience of being out on a beautiful prairie summer morning.
I shot a few very green, very pastoral landscapes in the rolling ranch and farm lands that encircle my little prairie village, and I made some cloud shots too, but mostly I used the big lens and focused on critters. I stopped for some llamas in a pasture. I found a meadowlark with a bill full of nesting material. Driving on to Grasslands Park, I photographed a killdeer pair with a small brood of chicks. Add a marbled godwit and some black-tailed prairie dogs and a few pronghorn - our North American antelope - to the mix. And this Merlin posed for me on a fence post. Usually these little falcons fly off, but it was my lucky morning: I got the shot.
Now, I don't think there were any prizewinners among my results that day; the sky didn't do anything dramatic, the animals and birds just went about their ordinary business. But I loved every minute of it, breathing the clean air and feeling connected to the place. That sense of being part of, not separate from, what we call nature (and generally consign to some place "out there" rather than recognizing it as an essential part of our lives) is what floats me through the bad days, the "off" days, the days when I question my life's path or wonder how I got talked into doing some of the things I do (wedding photography???). And being connected does enhance the chances of being present when something extraordinary happens. On this day, however, the Merlin was sufficient. I returned home happy.
Photographed near Val Marie, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission © 2018 James R. Page - all rights reserved.
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!
Lifes Peaceful Resting Place
Fluidity entrances and enrages, as time encapsulates thought.
As we try to make sense and reason, of life's entangled web.
A celebration indeed, each moment is created to be,
A translucent vision, seen through innocent eyes.
Forging through time, always longing to focus on truth,
As falsehood emerges, with it's powerful hindrance.
Then turmoil retreats quietly, to peaceful resting places,
Crisis evaporates and filters, silently through life's gentle breeze.
And a troubled mind is last, at peace!
karen clements
This is my last shot from Croatia - for now. I love the building and the silence. Indeed peaceful.
"Fluidity of Fall in Sedona:" Oak Creek swirls the colors of Sedona's red Cathedral Rocks intermingled with autumn foliage into a liquid melting pot of sorts as it courses through the landscape, depicting fall's fluidity in both the literal and figurative sense of the word.
...and Rain - this last my Friend
from distant past transmitting
drop by drops in hands
above horizon expected long
ago flashing Rainbows, existence
and reality of Lord in one of
multiple fragments by sharpie
peaks of spectral hues, from early
feelings of calming warmth, such
permanence of naivete's
proximity as obvious symptom,
anticipation of upcoming miracle
embraced by jolt of mellow from
childhood dreams, and streams,
and sparking glares, reality of
every day believe in green longevity
of Forest's leafs, reflecting Light from
sleeping Times, through waters been
firmaments of tangible pulsating
matter to object radiating bliss,
vibrating, subtle trace of memories
by crumbs well known by tactility
of acute senses, reflecting steps of
running passers-buses, and polls,
and rails in nights, and streets still
called my name, by echo far above
all rusty fallen lore, malicious
agendas, without drop of wisdom,
and axioms, aroused by fallacy off
premises, evoking song of Winds
through carcasses of bridges tied by
iron grasps spasmodically suspended
upon Neva-river, still walled by
monumental granite slabs as utter
deviation from modern age of Arcs,
chimeras-towers, and Parthenon's of
Whitest of the Nights in shadows off
steps from sleeping Summer Garden
between eternal marble-tiny guards
projecting brittle hands through
whispering infinity of dropping frozen
blast of crippled snow flakes to paint
somewhere in such distant Alps
fragment - imagine(!) tempera
a fresco on the walls by modern
style with always smiling and
agile Reindeer above with polar
entourage on blue tormented
skies above a Tundra with escort
of grown trees amongst fluidity of
bluish skies and luminosity of ice;
imagine(!) - far above Ding-Dong,
prone to folklore of deepest skies,
all day and night for long eons
deployed, and never since forgotten,
but still Ideal for living all...
Everyone takes a picture of Grant Central Station when they are in the big apple - just wanted to take a different kind of shot.
Long exposure HDR shot creates a interesting ghosting effect with various degrees of transparency...
I love how the architectural elements are so clear / solid versus the fluidity and flow of the commuters... Enlarge for a better view!
This photo was taken when it was almost dark and it was drizzling too.
Today my stream has reached it's milestone, 10,000 views. It was less than a year ago I joined Flickr (October 2008) and it has been a good experience. I really appreciate your visits and comments.
I can draw, I can paint but not as good as I thought before, so photography has become a medium for me to express my feeling and thinking to anything that surround us. I look forward to share more as long as my Manic~Mind works.
Supper at Emmaus (1606) is a painting by the Italian master Caravaggio, housed in the Pinacoteca di Brera (Sala XXIX), Milan.
In the collection of Marchese Patrizi by 1624 and possibly commissioned by him, references by Caravaggio's early biographers Giulio Mancini and Giovanni Bellori suggest it was painted in the few months after May 1606 when the artist was in hiding on the estates of Prince Marzio Colonna following the death of Ranuccio Tomassoni (see main article, Caravaggio), although it may also have been painted in Rome earlier in the year - the innkeeper's wife seems to be the same as the model for Saint Anne in Madonna and Child with St. Anne of 1605, although given the almost complete echoing of pose and lighting, she may have been done from memory.
The painting inevitably invites comparison with the National Gallery version of the same subject: the expansive theatrical gestures have become understated and natural, the shadows are darkened, and the colours muted although still saturated. The effect is to emphasize presence more than drama. Some details - the ear of the disciple on the right, the right hand of the innkeeper's wife - remain badly drawn, but there is a fluidity in the handling of the paint which was to increase in Caravaggio's post-Roman work as his brushwork became increasingly calligraphic. The artist may have had problems working out his composition - the innkeeper's wife looks like a last-minute addition. Neither she nor the innkeeper are mentioned in the Gospel of Luke 24:28-32, but had been introduced by Renaissance painters to act as a foil to the amazement of the two disciples as they recognise the resurrected Christ.
Certaines fois, ce n'est pas parce que tu es, en théorie, plus prioritaire que tu n'attendra jamais en chemin pour rencontrer un autre train! Niveau fluidité, laisser passer un train moins prioritaire peut s'avèrer gagnant.
Le A40121 rencontre le Z12031 qui attend sagement dans la voie d'évitement de Laurier.
Sometimes, just because you theoretically have higher priority doesn't mean you'll never have to wait along the way to meet another train! In terms of fluidity, letting a lower-priority train pass can be a win-win situation.
The A40121 meets the Z12031, which is waiting patiently in the Laurier siding.
MELLOW YELLOW... Tulips
#AbFav_PHOTOSTORY
#AB_FAV_ANYTHING_GOES_ 🎨
I love the way they sit in the frame, the fluidity of the leaves, very expressive? You can make up your own story today.
I wish you all a very good day and thank you for all your kind words, time, comments and likes.
Very much appreciated. M, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
tulips, many, sway, sing, yellow, pale, emotion, flowers, portrait, studio, black-background, colour, design, square, "conceptual art", "Magda indigo"
Arist Davide Dall’Osso was selected to showcase his figurative works of art “The Giardino Segreto” (“The Secret Garden”), in which dancing figures and two centaurs float above the water of the basin.
Dall’Osso works with polycarbonate and polymer plastics, lending his sculptures transparency and fluidity.
With the changing light over the course of the day, the figures are in constant movement, continuously revealing a different side of their personality.
I had not visited here for a few years and it was great to view this spectacular work of art.
The penultimate shot in this series. There have been a few historical shots in this months posts, however this image wins the prize for the oldest it dates back to the early 5th century. It is hard to imagine something made my humans lasting for over 1500 years and still looking so beautiful
The Baptistery of Neon is a Roman religious building in Ravenna, 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 original floor is now some 3 meters underground, so the proper structure and extent of the building can no longer be seen. The octagonal design of the building, employed in virtually all Early Christian baptisteries, symbolises the seven days of the week plus the Day of the Resurrection and Eternal Life.
The ceiling mosaic depicts John the Baptist baptising Jesus standing waist high in the Jordan River. To one side stands the personification of the Jordan river, with a reed in one hand and garment in the other. A procession of the twelve apostles proceeds around the centre mosaic .
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".
THANKS FOR YOUR VISITING BUT CAN I ASK YOU NOT TO FAVE AN IMAGE WITHOUT ALSO MAKING A COMMENT. MANY THANKS KEITH. ANYONE MAKING MULTIPLE FAVES WITHOUT COMMENTS WILL SIMPLY BE BLOCKED
I was drawing this after midnight and although calm the blackness is surfacing here. I almost didn't post it...but I'm determined to log and share my journey. Twigs, inks, water, brushes, crayons, graphite stick & a silver pen..and a cotton bud!
The gardens at Dyffryn were commissioned by Reginald Cory and designed by the famed Edwardian garden designer Thomas Mawson in 1906.
As a keen plantsman himself, Reginald worked collaboratively with Thomas to create this garden oasis. The majority of the gardens you see today are true to the original design. There was also a strong theme of experimentation and fluidity to the planting as Reginald was passionate about propagating and breeding many exotic and foreign species that he and others brought back from plant hunting forays all over the world.
The MKT depot was still putting out train orders here - yes, there is a train order signal in front of that car, which presumably belongs to the operator. This is also where the Katy crossed the MoPac's mainline from Kansas City to Little Rock and to Texas. The Union Pacific has chosen to put in a pair of power switch connections, enabling two mainline fluidity between KC and here.
From my first outing with the new Sony and the Tamron 70-300 w/Macro.
Thanks to all for your well wishes with my new toy. More powerful than I ever imagined.
I was going to post more Canon shots today (to be a smart as* as a few of you have been demanding a Sony Image or two).
Buy Artwork: Choose between Giclée Fine Art Prints, Framed Giclée Fine Art Prints and Canvas. www.thewandererseye.com
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Strolling along the windswept seashore in a gentle drizzle, I decided to dabble again with ICM photography. The result? The waves, normally crashing with wild abandon, now danced gracefully in the frame, their edges softened by the gentle blur. The sea, shore and the sky melded into a symphony of pastel hues, reminiscent of soft whispers exchanged between old friends. The horizon, a smudge of pastel blues and pinks, seemed to stretch on forever, inviting me into its dreamy embrace. This photograph captures the essence of the seashore – ever-changing, yet timeless.
For using my photographs/ image licensing or print enquiries, please write to rubenkalexander[at]gmail[dot]com or send me a Flickr mail. Please do not download or use my photographs without my explicit consent. Thanks!
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يرجى كتابة روبنكاليكساندر [في] جوجل [دوت] كوم لاستخدام صوري. الرجاء عدم استخدام صوري بدون إذن صريح مني. تشكرات!
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In this extraordinary painting, a star of the National Gallery’s Canadian collection, Carr achieved the fluidity and grace of her works on paper, which she had executed in her improvised medium of oil paint mixed with gasoline. Here, though, she translated her experience of the forest and sky worlds into a sturdier medium with no loss of spontaneity or ethereal communion with her subject. The painting breathes.