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Fraser Island is the world’s largest sand island. It was formed over hundreds of thousands of years as winds, waves, and ocean currents carried sands from the Australian south-east coast – as far south as Antarctica – out to the continental shelf, and back again, and is home to more than 100 freshwater lakes.
Lake Mckenzie is a perched lake: that is, a closed pool of water – in this case, 150 hectares (371 acres) in area and just over 5 metres (16 ft) in depth – sitting above the water table, and fed only with rainwater. Organic matter that naturally builds up at the bottom of the lake acts like a plug, keeping the water from draining away. The sand around the lake is nearly pure silica, making it beautifully soft and fine.
For the story, please visit: www.ursulasweeklywanders.com/nature-2/into-a-pristine-pas...
Fantastic book by Casey Reas, Chandler McWilliams, and the design/interactive shop LUST. Backdrop, Casey's Process Compendium 2004-2010.
This is compleatly natural. It just amazes me every time I see it. I challenge all the Gettysburg Battlefield geeks out there to tell me where this is at. It is on the Battlefield.
Exposure: *40* seconds, f5.6
Date: 11 March, 2006
Location: Narragansett Electric & Fox Point Hurricane Barrier, Providence RI
Notes: Pentax SP1000 with Accura Diamatic 35mm f2.8 on Fujichrome Provia 400F Xprocessed
First time out with Burnblue's dad's Pentax on a night shoot... of course I had to try Xprocessing first =)
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It started with an email as a trip to SBI to pick up a ML-L3 remote for my D50. Then as weather forecasts were made we decided to make it a night - sort of last-minute, Threshold, Skazama, LaRizzoloca and I revisited a spot we have been a few times before.
The results of previous outings can be seen in set 001, set 007, and set 008.
You can see a group pool here of all our shots on Flickr from the night or a slick slideshow here. It may take a week or so for all the shots to be posted.
Forms of Resistance, a two-person exhibition featuring works on paper by Tim McFarlane and Washington, D.C.-based artist, Miguel Rodriguez. The show consists of 20 new works on paper by each artist, with all work produced in 2017.
Reception
Friday, May 5 at 6 - 9 PM
Exhibition Statement: When talking about the “why” behind this show, we made a list of some of the things which drew our interest. We spoke about survival, how it relates to cities, oppression, graffiti being put up, then erased, then put up again. Graffiti as protest art. How the traces of words and marks build up and form a sort of collective language over time. We touched on how that relates to evolutionary biology. How all organisms belong to the same tree of life and contain elements of each other, morphed into endless variety through long periods of adaptation and reproduction over time. How we are derived from microscopic meteor particles, our alien origins. How we dream of life beyond our planet, or wish that we would be rescued. Or how terms like “illegal” aliens take a whole group of people and make them the other. We found ourselves deep into the role of artists in societies, whose free speech and thinking goes against the grain of authoritarian ideologies, and how every mark we make, every painting we realize is a form of resistance.
Tim McFarlane and Miguel Rodriguez
Exhibition
May 5 - May 27
Gallery Hours
Saturdays 11 - 2 pm
ARTIST BIOS
Tim McFarlane is a painter based in Philadelphia, PA. McFarlane’s paintings and works on paper examine the fluid nature of memory, time and place, with an emphasis on color, multi-layered systems and process. A 1994 Temple University/Tyler School of Art graduate, McFarlane exhibited in various group exhibitions around the Philadelphia region before gaining representation with the Bridgette Mayer Gallery in 2002, where he has had several solo exhibitions.
Tim McFarlane has exhibited his work extensively in the U.S. in group exhibitions and featured at art fairs in New York, Miami, Dallas and San Francisco. He has been a visiting artist at several universities, participated in artist panels and has been a juror for exhibitions and grants. McFarlane’s paintings and works on paper reside in numerous private and public collections, including those of West Virginia University, Bucknell University, Temple University, the Hyatt Hotel at the Bellevue and more.
Miguel Rodriguez is a Washington D.C. based painter. He is a graduate of Tufts University/School of the Museum of Fine Arts, Boston, and has shown his work in Philadelphia, Trenton and Boston. He is part of the Earth Issue Artist's Collective, and was interviewed recently for Young Space, an online platform dedicated to emerging artists. His work is included in numerous private collections.
Images left to right:
Miguel Rodgriquez: Ange, 2017, acrylic and collage on paper, 15" x 11"
Tim McFarlane Uncharted (Blue Seas), 2017, acrylic on paper, 15" x 11"
Observar la relación entre la pantalla de pilotes ( aquí sólo se representa uno, pero esta previsto que se construyan en una longitud de 230 metros). Observar la cercanía física entre la pantalla de pilotes de 41 m de largo y 1,5m de diámetro (en rojo), y los cimientos de la Sagrada Familia (con el extremo de sus cimientos engrosado en rojo en forma de bulbo) En realidad estos cimientos de 16 m de longitud, tienen unos límites reales muy difíciles de precisar pues la técnica de construcción de pilotes no está tan avanzada como la de las tuneladoras. Y bien pudiera suceder que llegaran a tocarse con alguno de los pilotes de la pantalla "protectora" en el momento de la construcción. No hay más espacio para proceder de otra manera. Son problemas que se presentan al ir definiendo los detalles de los proyectos y que hay que re-estudiar atentamente.
Visita a las obras del Templo de la Sagrada Familia 2008.09.30
The Carquinez Bridge refers to parallel bridges spanning the Carquinez Strait, forming part of Interstate 80 between Crockett and Vallejo, in the U.S. state of California. The name originally referred to a single cantilever bridge built in 1927, helping to form a direct route between San Francisco and Sacramento.
A second parallel cantilever bridge was completed in 1958 to deal with the increased traffic. Later, seismic problems of the 1927 span led to the construction and 2003 opening of a replacement: a suspension bridge officially called the Al Zampa Memorial Bridge (named in the memory of iron worker Al Zampa, who played an integral role in the construction of numerous San Francisco Bay Area bridges). Currently, the Alfred Zampa Memorial Bridge carries westbound traffic from Vallejo to Crockett, and the 1958 cantilever span carries eastbound traffic.
The Carquinez Strait is a narrow tidal strait in northern California. It is part of the estuary of the Sacramento and the San Joaquin rivers as they drain into the San Francisco Bay. The strait connects Suisun Bay, which receives the waters of the rivers, with San Pablo Bay. The strait forms part of the border between Solano and Contra Costa counties, and is approximately 15 mi north of Oakland, the cities of Benicia and Vallejo lie on the north side of the strait, while Martinez, Port Costa, and Crockett sit on the southern coast. The Napa River joins the strait, via the short Mare Island Strait, the strait is named after the Karkin, a linguistic division of the Ohlone Native Americans who resided on both sides of the strait.
The California Maritime Academy is at the end of the strait on the northern waterfront. The C&H Sugar refinery is located on the shore in the small town of Crockett. The strait is crossed by two bridges, the Carquinez Bridge on Interstate 80 and the Benicia-Martinez Bridge on Interstate 680. Each highway bridge consists of two spans, Interstate 780 connects the two highways on the northern slope of the strait. State Route 4 connects these highways south of and inland from the strait, a rail bridge just east of the Benicia-Martinez bridge is used by the Capitol Corridor, California Zephyr, and Coast Starlight trains.
A rail ferry, with the ferries Contra Costa and Solano, which were the largest train ferries ever built, provided service across the strait near the location of the current rail bridge until the bridge was built in 1930, this bridge is still the second longest rail bridge in the US and the longest west of the Mississippi River. Tall pylons carrying power lines cross the strait as well, the Carquinez Strait Powerline Crossing was the world's first powerline crossing of a large river.
The channel is navigable and is used for commercial and military shipping, deep water ship traffic bound for both the Port of Sacramento and the Port of Stockton traverse the strait. The narrow gap in the Coast Range that forms the strait has led to the formation of the San Joaquin-Sacramento River Delta, a river delta, upstream of it.
The strait is too small to allow the passage of huge amounts of floodwaters created during years with heavy rainfall/snowmelt events. Because the Delta area is the first to fill and last to drain in an event, silt and soil have more time to drop out of suspension.
Agate and quartz lining a geode from Montana, USA. (Jerry Schaber collection)
This shows the interior of a geode. Geodes are small to large, subspherical to irregularly-shaped, crystal-lined cavities in rocks. They form when water enters a void in a host rock and precipitates crystals. The most common geode-lining mineral is quartz.
The reddish and whitish layered areas are agate. "Agate" is a rockhound/collector term for irregularly- & concentrically-layered masses of microcrystalline quartz. Individual layers consist of translucent or opaque, microcrystalline, fibrous quartz called chalcedony. Impurities in different layers cause variations in color. Many agate masses are simply geodes that have completely filled up with quartz. Common agate colors are clearish-whitish-grayish, brownish-red, and yellowish-brown. Commercial agates that occur in greens and blues and purples are almost always dyed (faked).
The crystals near the center are macrocrystalline quartz.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
This piece was inspired by previous student work on the Geometric Form project, as well as 3D art that various artists made out of toothpicks. These were in fact the chosen medium; I wanted to work with wood toothpicks proved to be the right size. The concept is essentially a new interpretation of the space lattice created at the beginning of the semester. The simple 180-arc is present, though there are clear differences due to the different media and interpretation. Originally I planned to make cubes out of the toothpicks. but they proved to have too much flexibility, so I made 3-sided pyramids instead; the triangles have much more structural rigidity, and as it turns out, I like the look of the triangles much better. I'm also very happy with the directional movement changes within the piece. As seems to be the case with my projects in this class, if I could change one thing it's that I would make it longer/bigger/more elaborate, if given the time; the piece measures roughly 9x7x5 (depending on which way you stand it up).
I've been studying black and white "fine art" lately. This was a clean white VW beetle sitting in a parking lot catching some pretty white sun. Gave it a shot. Your thoughts?
As formas orgânicas da poltrona Viki sugerem feminilidade. Sua estrutura de madeira aparente e cantos arredondados, com aberturas por onde permeia a luz, proporciona leveza e cria um berço para o estofamento que, generosamente, se apoia e oferece aconchego. Um design que traz claridade para dentro do ambiente.
The frigate hull form gave the sisters a long & lean shape which, with their powerful Penn steam engine and screw propeller, drove them at speeds of up to 14 knots - 17 with full sail set - an incredible speed for the day!
Despite being the first armoured battleship in Royal Navy history (and second only to the French Gloire for entry into service), the ship was traditional in many respects, especially her sailing rig. Still, she heralded a new age in warship design and by glorious chance this magnificent ship has survived over a century and a half and today lies moored (in beautifully restored condition) at Portsmouth Historic Dockyard. A visit to this leviathan should be on every steam-head's bucket list!
"Oh I do like to be beside the seaside"
HST power cars nos. 43092/189 form this 'Castle Class' set nearing journeys end working 2C20 11.28 Exeter SD - Penzance.
All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer. All rights reserved – Copyright Paul Townsend
MP: marketplace.secondlife.com/p/Katerina-verde-Completo/5871987
SL: maps.secondlife.com/secondlife/FuriZona/130/115/34
Katerina is an outfit formed by single-breasted jacket with three buttons and a short dress, low-cut back and with an important collar. The fabric is a superb shantung silk mixed with linen, perfect for cool spring days and the breeze of summer evenings.
5 mesh sizes for jacket, dress and full dress.
3 alpha
it is recommended to activate the advanced system of lights for perfect rendering of materials.
The mesh models are original and self-produced, templates were not used.
_____
Katerina è un completo formato da giacca monopetto a tre bottoni e veztito corto, zcollato dietro e dal collo importante. Il tezzuto è un zuperbo shantung di zeta mizto lino, perfetto per le frezche giornate primaverili e per la bressa delle zerate eztive.
5 taglie mesh per giacca, abito e veztito completo.
3 alfa
E' conzigliato attivare il ziztema avansato delle luci per una perfetta reza dei materiali.
I modelli mesh zono originali ed autoprodotti, non zono ztati uzati modelli preconfesionati.
Todas las imágenes que aparecen en esta página son propiedad exclusiva de David Aceituno Ruiz. Están protegidas por la legislación española sobre los derechos de la propiedad intelectual y no pueden ser descargadas, ni reproducidas, bajo ninguna forma sin el consentimiento escrito del autor.(Art.17 secc 2ª.Ley de la Propiedad intelectual.
Nozeroy est une cité médiévale dans le département du Jura, dans la région Bourgogne-Franche-Comté.
Le puissant et richissime seigneur Jean Ier de Chalon choisit un site de hauteur, défendable à proximité de la route du sel, qui de Salins à Jougne permet les échanges commerciaux et culturels entre le duché de Bourgogne et la Suisse et au-delà entre la Flandre et l'Italie. Jean de Chalon crée alors en 1262 au centre de son domaine jurassien, une forteresse d'où est conduite sa politique et sont administrés ses biens : le château de Nozeroy et sa ville fortifiée.
Unique Forms of Continuity in Space (1913)
Umberto Boccioni (1882-1916)
Bronze sculpture, cast 1972
Boccioni's work was in plaster, never cast into bronze in his lifetime. This cast was made in 1972.
In the early years of the twentieth century, industrialisation swept across Italy. The Futurist movement was founded by writers and artists such as Umberto Boccioni, who enthused about new inventions such as cars and electricity. In Unique Forms of Continuity in Space, the figure is aerodynamically deformed by speed. Boccioni exaggerated the body''s dynamism so that it embodied the urge towards progress. The sculpture may reflect ideas of the mechanised body that appeared in Futurist writings, as well as the ''superman'' envisaged by the philosopher Friedrich Nietzsche
[Tate website]
The first VI. books in a compendious form contracted and demonstrated. By Captain Thomas Rudd. Whereunto is added, the mathematicall preface of Mr. John Dee.
The scarce second English edition of Euclid's Elements, and the First Edition of Thomas Rudd's English version of Euclid (preceded only by the Billingsley version published in folio in 1570) and contains the celebrated "Mathematical Preface" by John Dee that first appeared in the 1570 Billingsley edition.
Captain Thomas Rudd (1583c.- 1656) was an English military engineer and mathematician.
John Dee (1527-1608) was an English mathematician and considered one of the most educated men of his age, lecturing on the geometry of Euclid at the University of Paris.
Publication info: London: 1651
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This image shows the title page of the book. This book is one of two copies held within the University of Glasgow Special Collections. The above copy has the most amount of annotation.
The annotation clearly bears early University press marks on the front flyleaf: annotation confirm that the book belonged to the Glasgow University Librar, for example an inscription by William Dunlop (1654-1700) who was Principal of Glasgow University from 1690 to 1700 can also be seen at the top right side of the page confirming it was purchased for the University in 1691. The text is printed in red and black and contains wooden vignette.
University of Glasgow Library
Special Collections
Sp Coll Bk8-h.22 eleanor.lib.gla.ac.uk/record=b1642675
A representative soil profile of a Retisol from Luxembourg. (Photo courtesy of Stefaan Dondeyne, revised.)
Retisols have a clay illuviation horizon with an interfingering of bleached coarser textured soil material into the illuviation horizon forming a net-like pattern. The interfingering bleached coarser-textured material is characterized by a partial removal of clay and free iron oxides. There may be also bleached coarser-textured material falling from the overlying horizon into cracks in the illuvial horizon. Many Retisols correlate with the Podzoluvisols of the Soil Map of the World (FAO–UNESCO, 1971–1981). In other systems they are called Soddy-podzolic or Sodzolic soils (Russia),
Fahlerden (Germany), and Glossaqualfs, Glossocryalfs and Glossudalfs (United States of America). Albeluvisols of the former editions of WRB are included in the concept of Retisols.
Glossic (from Greek glossa, tongue): having albeluvic glossae starting ≤ 100 cm from the soil surface. The term albeluvic glossae (from Latin albus, white, and eluere, to wash out, and Greek glossa, tongue) is connotative of penetrations of clay- and Fe-depleted material into an argic horizon. Albeluvic glossae occur along soil aggregate surfaces forming vertically continuous tongues. In horizontal sections they exhibit a polygonal pattern. (WRB)
Stagnic (from Latin stagnare, to stagnate): are soils having a layer ≥ 25 cm thick, and starting ≤ 75 cm from the mineral soil surface, that does not form part of a hydragric horizon and that has stagnic properties in which the area of reductimorphic colours plus the area of oximorphic colours is ≥ 25% of the layer's total area, and reducing conditions for some time during the year in the major part of the layer's volume that has the reductimorphic colours.
Stagnic soil materials develop stagnic properties (from Latin stagnare, to stagnate) if they are, at least temporarily, saturated with surface water (or were saturated in the past, if now drained) for a period long enough that allows reducing conditions to occur (this may range from a few days in the tropics to a few weeks in other areas). In some soils with stagnic properties, the reducing conditions are caused by the intrusion of other liquids such as gasoline.
Albic (from Latin albus, white): having a layer of albic material ≥ 1 cm thick, and starting ≤ 100 cm from the mineral soil surface, that does not consist of tephric material, does not contain carbonates, and does not contain gypsum; and that overlies a diagnostic horizon or forms part of a layer with stagnic properties.
For more information about soil classification using the WRB system, visit:
La pobreza es una situación o forma de vida que surge como producto de la imposibilidad de acceso o carencia de los recursos para satisfacer las necesidades físicas y psíquicas básicas humanas que inciden en un deterioro del nivel y calidad de vida de las personas, tales como la alimentación, la vivienda, la educación, la asistencia sanitaria o el acceso al agua potable. También se suelen considerar la falta de medios para poder acceder a tales recursos, como el desempleo, la falta de ingresos o un nivel bajo de los mismos. También puede ser el resultado de procesos de segregación social.
Muchas veces nos quejamos por las cosas materiales que no tenemos, el auto propio, la polera azul que viste en la vitrina del mall, o ese video juego que tanto te hace alucinar; aprendamos a valorar lo otro, la felicidad y el bien estar, consideremos como positivo el hecho de tener una familia que te quiera y te proteja; olvídate de los recursos, vive el momento y aprovecha al máximo lo inoportuno de la vida. Aprende a ver la existencia del amor y confía en tú gente
Apprezzo la cioccolata perchè
lei è l'unica che sostituisce la mancanza di ciò che è impossibile da sostituire.
La UVa ha participado en esta Feria de forma activa con la directa implicación de la Escuela Técnica Superior de Arquitectura y el Departamento de Geografía
Ugandan Formed Police Unit personnel serving under AMISOM, mount a parade during the farewell ceremony to mark the end of their tour of duty in Somalia on August 01, 2015. AMISOM Photo/Omar Abdisalan
Feminine form fitting and comfortable T-shirt with screen printed Koi Fish design. Absolutely gorgeous Swarovski crystals in Hyacinth and Fire Opal colors decorate the guitar inside of the Koi.
Color: Black
Material: 100% cotton
Style: Short sleeve V-neck
* 5.9-ounce, 100% ring spun combed cotton
* 1x1 rib knit
* Self-fabric binding at neck and cuffs
* Double-needle hem
☀Guitar (front) and leaf&writing(back) glows in the dark.☀
Size: Small (or e-mail me for a custom made shirt in your size)
Twitter:
☠ @POSHinks
Facebook:
☠ Hatvan Kilenc
KPM Berlin um 1885 Tasse Form Antiqueglatt mit Bunter Blumenmalerei, Ränder in Purpur, Zylindrisch, www.kabelitz-porzellan.de
Ipê-Roxo Bola (Tabebuia impetiginosa) -
Pau D'Arco Bark.
Recebe este nome em razão da forma de seus cachos de flores. Chega a atingir cerca de 8 a 12 metros de altura, dotada de copa alongada, tronco ereto de 60-90 cm de diâmetro com folhas compostas 5-folioladas e quando florido perde suas folhas. É encontrado desde o Piauí até Minas Gerais, Goiás e São Paulo, em geral nas regiões de cerrado e caatinga. Floresce nos meses de maio a agosto. Existem, ainda, outras espécies de ipê roxo, como o T. heptaphylla.Sua Madeira é muito pesada (densidade 0,96g/cm3) muito dura ao corte, resistente ao ataque de organismos xilófagos.
Nomes populares:
Ipê-roxo, Pau-d’arco-roxo, Ipê-roxo-de-bola.
Ipê roxo (Tabebuia avellanedae)
Nomes populares: ipê-roxo, pau-d’arco-roxo, ipê-roxo-da-mata, ipê-preto, ipê-rosa, ipê-comum, ipê-cavatã, lapacho, peúva, piúva.
Sabe-se que o ipê-roxo é a Tabebuia avellanedae, porém é muito comum haver confusão com a Tabebuia pentaphylla (ipê-rosa), inclusive alguns autores consideram a Tabebuia avellanedae e a Tabebuia impetiginosa da mesma espécie.
É o primeiro dos Ipês a florir no ano, inicia a floração em Junho, e pode durar até Agosto, conforme a árvore. Esta espécie se confunde bastante com outras também de flor roxa, como a Tabebuia impetiginosa e a Tabebuia heptaphylla, sendo considerado por alguns autores que a T. avellanedae e a T. impetiginosa seriam a mesma espécie. São muito utilizadas no paisagismo urbano, por sua beleza e desenvolvimento rápido.
É também utilizado contra as estomatites, úlceras de garganta e anemia. Anti-inflamatório, anti-cancerígeno, eczema.
O ipê (Ipê, em tupi-guarani, significa "árvore de casca grossa" e tabebuia é "pau" ou "madeira que flutua") - muitas vezes chamado de pau-d’arco - possui propriedades medicinais,sendo a casca em estudo para tratamentos. É apreciado pela qualidade de sua madeira, além de servir para fins ornamentais e decorativos. A árvore do ipê é alta, podendo chegar até 30 m (na cidade , em locais abertos chega a cerca de 10-15 m), bem copada e na época de floração perde totalmente as folhas para dar lugar às flores das mais variadas cores (brancas, amarelas roxas ou rosa) com belas manchas coloridas. É uma arvore originária do cerrado, não precisando de muita água, apenas no começo. É uma das árvores homologadas para plantio pelo fato de possuir raiz pivotante( para baixo), sem quebrar a calçada. Recomenda-se o plantio aonde haja bastante espaço para cima. Floresce no período de julho a setembro e frutifica de setembro a outubro. Destas sementes, que secam e abrem as vagens só nascem se estiverem secas. Os diversos tipos de ipê recebem os nomes conforme as cores de suas flores ou madeira. Os que mais se destacam são os seguintes: ipê-amarelo ou ipê comum, ipê-tabaco, ipê-branco, ipê-roxo ou ipê-rosa. Por muito tempo, o ipê foi considerado a árvore nacional brasileira. Contudo, no dia 7 de dezembro de 1978, a lei nº 6507 declara o pau-brasil a Árvore Nacional e, a flor do ipê, a flor do símbolo nacional.
Identifique seu Ipê:
* Amarelo : Folhas felpudas, pequenas em geral em formação de folhas por ramo.
* Roxo : Folhas lisas, as vezes serrilhadas na ponta, crescimento rápido.
* Branco : Folhas arredondadas.
* Rosa : Folhas grandes e suculentas ,talos verdes. crescimento rápido.A seguir, Texto, em português, do site "Catalão Notícias", que pode ser acessado no endereço portalcatalao.com.br/catalaonoticias/category_news.asp?ID...
Nesta época do ano, em que já se instala a “estação da seca” em Brasília, percebe-se em toda a parte o aumento de cores na vegetação. O sol pleno, entremeado pelo sibilar do vento frio, colabora com a natureza, fazendo desabrochar flores por toda parte, como se quisessem compensar-nos pela chegada da aridez desértica do inverno. De fato, tanta beleza nos distrai e nos alimenta com coragem para resistir bravamente à adversidade do clima, nos próximos cinco meses.
Uma das mais belas espécies que enfeitam a região é o ipê, adjetivado de acordo com a cor das suas flores. Há ipê amarelo, branco, rosa... Mas o mais famoso deles é o ipê roxo, cujo nome científico é Tabebuia avellanedae, com características muito interessantes. Por causa da sua coloração rosa e lilás intensos, é muito bem vindo em praças, jardins públicos e na arborização de ruas, avenidas, estradas e alamedas e também na recomposição da mata ciliar. Apesar de ser indicada para arborização urbana, não se recomenda plantar essa árvore em calçadas estreitas, com menos de dois metros e meio de largura, em locais com fiação aérea e ausência de recuo predial, porque a espécie atinge, na fase adulta, de cinco a oito metros de altura, com o raio da copa variando em torno de quatro a cinco metros.
Pouco antes da floração, suas folhas caem e surgem, no ápice dos ramos, magníficas panículas com numerosas flores tubulosas, perfumadas e atrativas para abelhas e pássaros. Por causa dessa formação tão parecida com bolas de flores nos galhos, os botânicos, que a descreveram pela primeira vez, deram-lhe o nome de 'árvore buquê'.
Vaidoso, o ipê roxo sai na frente dos de outras cores, mostrando sua beleza do início de junho até o final de setembro e, ainda, frutifica de julho a novembro. Versátil, adapta-se bem ao clima tropical úmido e subúmido, com inverno seco, mas sobrevive também no clima subtropical, com verão quente. Tem preferências por temperaturas entre 18 a 26 graus centígrados.
Mas, não é só de aparência que vive essa espécie. Praticamente toda a árvore produz e fornece matéria prima de excelente qualidade, que tem surpreendentes aplicações.
O tronco do ipê roxo tem sido utilizado em larga escala na construção civil, para confeccionar dormentes, tacos, portais, postes, eixos de roda, vigas; na construção naval como quilhas de navio; no mobiliário em geral, em batentes e degraus de escadas; em instrumentos musicais, bolas de boliche, entre outros.
Da casca, são extraídos ácidos, sais alcalinos e corante, que é usado para tingir algodão e seda, sem contar que está entre os produtos amazônicos mais procurados, com reconhecido poder medicinal.
Da entrecasca faz-se um chá que é usado no tratamento de gripes e depurativo do sangue.
As folhas são utilizadas contra úlceras sifilíticas e blenorrágicas. A espécie também tem propriedades anti-reumáticas e anti-anêmicas.
É tido como um poderoso auxiliar no combate a determinados tipos de tumores cancerígenos. É usado também como analgésico e como auxiliar no tratamento de doenças estomacais e da pele.
A extração predatória, realizada durante anos, quase levou a espécie à extinção. Devido à atuação governamental, reclamada pela comunidade científica, a produção, em princípio, é protegida, explorada e comercializada com a observância de critérios adequados. Um dos produtos mais importantes extraído do ipê roxo é o Lapachol, marca do princípio ativo naftoquinona, com reconhecida ação antiinflamatória, analgésica, antibiótica e antineoplásica [ataca qualquer tumor, benigno ou maligno].
O Laboratório Estatal de Pernambuco [Lafepe] é o proprietário da marca Lapachol desde 1978. Mas em 1969, já produzia e comercializava o produto como auxiliar no tratamento do câncer. Atualmente, a estatal pernambucana tem acordo com o Hospital Sírio Libanês, de São Paulo, na pesquisa de ensaios clínicos em seres humanos em tratamento de câncer, primordialmente o câncer de próstata.
Tão admirado pelos visitantes e transeuntes, cantado em versos e lido nas costumeiras crônicas da cidade, o Ipê Roxo já faz parte da tradicional paisagem brasiliense. Emociono-me diante dessa maravilha, carregada de flores cada vez mais belas, nas Quadras e Entrequadras, ao longo do Eixão, nos Parques e Chácaras que rodeiam a cidade, especialmente agora, quando contrasta com o brilho azulado e intenso do céu e o heróico e persistente verde dos gramados. É bom saber que ele só sairá de cena para dar lugar às bem aventuradas chuvas tardias da primavera, lá pelo mês de outubro.