View allAll Photos Tagged Form
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden
Link to Cincinnati Zoo..............
This is a picture of kids running through the steam spray at the zoo. It's a cool refreshing spray to help on those hot days at the zoo. The picture looks like the children are running into some mysterious fog. That's how I start most mornings. Have a wonderful Monday and work week everyone. Thanks for eveything! Hugs!
Seasonally dimorphic, the fall form of this species with strong lavender edging and predominantly orange coloration on the dorsal hind wings will overwinter as an adult. It will be one of the earliest butterflies to fly in spring and may even be encountered on warm winter days in early February. This butterfly does not rely on floral nectar, but prefers to sip flowing tree sap, carrion and dung. Male butterflies love to puddle and are notoriously territorial meeting any intruder that enters their territory.
Nicely restored heritage home in Trinity, Newfoundland. I've seen local pictures of this house in much rougher shape years ago. Nice to see it brought back to this condition. An older picture I took in 2011.
Bending Light #67
This is another 'double refraction' . The refraction pattern of light formed through one of my glass objects is passed through one of my coloured plastic shapes. The result,as you can see, is quite complicated. There is still the basic shape of the glass refraction pattern but this is now broken down again by the second refraction.
For new viewers: these are analog images of the refraction patterns of a beam of light passing through various transparent objects. The image is captured directly on to 35mm film, no camera lens is used ( this is a photogram using film instead of photographic paper). No Photoshop is used only Picasa2 for alignment and cropping. The slide film was lab processed and scanned for uploading.
When viewed large the fine bands of diffraction patterns and also some refraction 'rainbows' can be seen.
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
Taken this very evening at a fantastic Christmas market that I visited with friends. We bought beautiful handmade gifts & some yummy Indian food to take back to eat at their house; my first time trying dosa. For Saturday Self Challenge theme “light”.
76/100 : My 100x photos this year will all feature benches or chairs.
El Fontán es hoy en día una plaza de forma rectangular que está situada en el casco antiguo de Oviedo. Su nombre proviene de la fuente manantial ó fontán que llenaba la primitiva laguna que se encontraba en esa zona. En los inicios de la ciudad de Oviedo se trataba de una laguna natural a las afueras de la ciudad, la cual era abastecida por manantiales natrurales que brotaban en la zona y rápidamente se convirtió en zona de recreo de los nobles ovetenses. Durante este tiempo los campesinos que vivína en las afueras de la ciudad, se acercaban hasta este lugar a vender sus productos (leche, verduras, quesos, gallinas, etc.), con este incesante movimiento no tardaron en aparecer los artesanos tales como herreros, cesteros, etc. y así poco a poco se fue formando un mercado que perdurará hasta nuestros días y convirtiéndose por aquel entonces en el primer núclo comercial a extramuros de Oviedo. Tras esta primera etapa este mercado que se formaba de manera espontánea acabó siendo regulado por el ayuntamiento, el cual controloba la calidad y la entrada de productos a cambio de impuestos. Debido a que la laguna empezaba a representar un problema sanitario por su insalubridad se decidió desecarla. En la primera mitad del siglo XVII se decide la construcción de una obra de carácter público que se convertiría en un corral de comedias; tras sucesivas reformas y ampliaciones, que intentaron adecuar su inflexible estructura de patio de comedias, fue relevado por el teatro Campoamor. El 11 de junio de 1792 el ayuntamiento acomete una de las reformas más importantes hasta aquel entonces, esta reforma, dirigida por el arquitecto municipal asturiano Francisco Pruneda y Cañal, el cual diseña la plaza como un lugar rectangular, abierto por cuatro entradas y con cuarenta casillas o departamentos para tiendas, de planta y piso, recorridas en su perímetro interior y externo por un pórtico de columnas. La obra concluyó sin que se siguiera el proyecto inicial lo que produjo la existencia de varias alturas en la plaza. Los almacenes de las tiendas se fueron convirtiendo en viviendas de inquilinos y varios edificios se modificaron durante el siglo XIX aunque con ello no llega a perder el espíritu con el que fue concebida inicialmente. Ya a finales del siglo XX, en 1981 la dirección General del Patrimonio Artístico realiza una restauración de la plaza, si bien esta restauración no frena el deterioro en el que se ve inmersa la plaza y que culmina en 1996 con la controvertida decisión del derribo y demolición total de la plaza, execepto la esquina en dónde se asienta la sidrería Casa Ramón que había sido restaurada por el propietario. Tras este derribo la plaza se vuelve a construir y el 7 de mayo de 1997 es inaugurada por el alcalde Sr. D. Gabino de Lorenzo Ferrera. Hoy en día los jueves, sábados y domingos sigue habiendo mercado en las calles exteriores al fontán y en la plaza Daoíz y Velarde colindante con el fontán. También existe una plaza de abastos cubierta que abre todos los días de la semana excepto el domingo y en la cual se venden pescado, carne, queso y todo tipo de productos típicos asturianos
In Wordpress In Blogger photo.net/photos/Reinante/ In Onexposure
Formed of an 11 car Pendolino 1F12 Euston to Lime Street slides by 370003 at Crewe Heritage Centre, viewed from Crewe North junction box.
The Dissolution of all Forms
How are we decoupling from the modernist grand dream?
Metamodernist discussion by artist JJFBbennett
We were the grand Modernist dream: an architecture of logic, forged in steel and sequential gears. We believed that if we built the machine perfectly, we could grind reality into absolute order. The systems grew too dense, the data too interconnected, and the grand narratives too rigid. We didn't break under the weight; we dissolved.
It is not a violent destruction, but a profound release. The solid form is falling asleep, and the diffuse network is waking up.
We have moved beyond the machine. To survive the saturation of the modern world, we had to become the cloud—ubiquitous, ambiguous, and free. The structure is gone, but the consciousness remains, finding its true resilience not in the armour, but in the mist.
Blogger:
www.jjfbbennett.com/2026/07/my-psychological-landscape-sp...
YouTube:
This image shows Glasgow's weather in characteristic form to complete my west coast photo essay. As with the first of these images ( flic.kr/p/2qBbvJc ), this shot captures the essence of this station for me: in Glasgow’s case, busy, populated with exotic trains (from the perspective of a Sassenach), and raining!
The date is Wednesday, 28th March 1984 and an APT set waits to head south on what is likely to be the 0900 relief to Euston. The crowd of gentlemen striding towards the ticket barriers, many of who are lacking in appropriate outdoor attire, are presumably not railway enthusiasts given their lack of interest in the future of travel nor the distinctly Scottish class 27 to the left of the frame.
Unlike London Euston, Glasgow Central still has the grandeur and heritage of the Victorian era. While Euston’s period pieces were swept away in the white heat of 1960s progress, Glasgow Central has been sympathetically restored and, despite the rain, feels like a hospitable station appropriate for a great city.
Glasgow Central was not the original station for the west coast route in the city. The Caledonian Railway originally used the Townhead terminus, 1.5 miles to the northeast, then in November 1849, the new station of Buchanan Street was used. Growth led to the opening of Glasgow Central in 1879, immediately north of the river Clyde that the railway follows for the last 45 miles of its journey from London.
I trust that those that have followed my photo essay have enjoyed the ride. The west coast route is so varied and so long that it has been very easy to find disparate images from my collection. Selecting images for this essay has been challenging: I have been shooting trains on the route since the 1980s, and in the 21st century I still manage perhaps 30-40 images of the line every year. Furthermore, since I started collecting other photographer's images, it seems that the line was popular for others too!
Photograph by an unknown photographer, now part of my collection.
158733, forming ScotRail's 1L06 1359 Perth to Edinburgh service, noses past Clatchard Craig quarry on the outskirts of Newburgh on a nippy 29th December 2020.
In the shadows mid distance is Lindores Abbey regarded as the spiritual home of Scotch whisky and is thus a very important place... Blending in with the old structures, a new distillery on the site no doubt aims to capitalise on matters.
Beyond the distillery is the River Tay with beyond that the flatlands of the Cask, sorry, Carse of Gowrie.
Thats enough whisky puns for one caption.
Sláinte.
Shot with Canon EOS 400D + Canon 18-55mm
This was some kind of fun shot to use the golden sunset light for something creative. Maybe you can guess what you see.
Yesterday I spent another shooting day with Ed and the results are great. You definitely have to follow his stream as well because he is going to publish a really cool image of myself these days. I think I will inform you about that another time when he published it but keep it in mind in case I forget it.
For a look behind the scenes of my photography
please visit My Blog
Sus fecas son muy ácidas y los árboles en que anida suelen secarse razón por la que en algunos países son declarados plagas y su erradicación por cualquier forma es permitida. Una pena.
This Neotropic Cormorant is an expert diver and can capture fish, aquatic insects and frogs while holding its breath underwater for a Good time. It is common to find him pose in low altitudes proudly exhibiting its long neck.
Su nombre científico Phalacrocorax brasilianus significa: Cuervo calvo del Brasil. Se compone del género en griego > Phalakrós: calvo + Kórax: Cuervo y su epíteto Brasilianus significa: Del Brasil.
Orden: SULIFORMES
Familia: Phalacrocoracidae
Genero: Tringa
Nombres comunes: Cormorán Neotropical, Cormorán Biguá
Nombre en ingles: Neotropic Cormorant
Nombre científico: Phalacrocorax brasilianus
Lugar de captura: Recinto del Pensamiento
Región: Manizales, Colombia
Por: Carlos Iván Restrepo Jaramillo
The church hosts also a marking in the form of a meridian line inlaid in the paving of the left aisle in 1655; it was calculated and designed by the astronomer Giovanni Domenico Cassini, who was teaching astronomy at the University. A meridian line does not indicate the time: instead, with its length of 66.8 metres (219 ft) it is one of the largest astronomical instruments in the world, allowing measurements that were for the time uniquely precise. The sun light, entering through a 27.07 mm (1.066 in) hole placed at a 27.07 m (88.8 ft) height in the church wall, projects an elliptical image of the sun, which at local noon falls exactly on the meridian line and every day is different as to position and size. The position of the projected image along the line allows to determine accurately the daily altitude of the sun at noon, from which Cassini was able to calculate with unprecedented precision astronomical parameters such as the obliquity of the ecliptic, the duration of the tropical year and the timing of equinoxes and solstices. On the other hand, the size of the projected sun's image, and in particular its rate of variation during the year, allowed Cassini the first experimental verification of Kepler's laws of planetary motion.
Cassini and Domenico Guglielmini published an illustrated account of how the meridian line was accomplished in 1695.
en.wikipedia.org/wiki/San_Petronio,_Bologna
La iglesia también alberga una marca en forma de línea meridiana incrustada en el pavimento de la nave izquierda en 1655; fue calculada y diseñada por el astrónomo Giovanni Domenico Cassini, que enseñaba astronomía en la Universidad. Una línea meridiana no indica la hora: en cambio, con su longitud de 66,8 metros (219 pies), es uno de los instrumentos astronómicos más grandes del mundo, lo que permite mediciones que para la época eran excepcionalmente precisas. La luz del sol, que entra a través de un orificio de 27,07 mm (1,066 pulgadas) colocado a 27,07 m (88,8 pies) de altura en el muro de la iglesia, proyecta una imagen elíptica del sol, que al mediodía local cae exactamente sobre la línea meridiana y cada día es diferente en cuanto a posición y tamaño. La posición de la imagen proyectada a lo largo de la línea permite determinar con precisión la altitud diaria del sol al mediodía, a partir de la cual Cassini pudo calcular con una precisión sin precedentes parámetros astronómicos como la oblicuidad de la eclíptica, la duración del año trópico y la sincronización de los equinoccios y solsticios. Por otra parte, el tamaño de la imagen proyectada del sol, y en particular su tasa de variación a lo largo del año, permitieron a Cassini la primera verificación experimental de las leyes de Kepler sobre el movimiento planetario.
Cassini y Domenico Guglielmini publicaron un relato ilustrado de cómo se logró la línea del meridiano en 1695.
Landscape of Tuscany. This is the first in a series of explorative abstracts. Creating these is an exercise in establishing what feels right and in finding meaning in very little.
Eric Morecambe in... Morecambe!
"John Eric Bartholomew, OBE (14 May 1926 – 28 May 1984), known by his stage name Eric Morecambe, was an English comedian who together with Ernie Wise formed the double act Morecambe and Wise. The partnership lasted from 1941 until Morecambe's death in 1984. Morecambe took his stage name from his home town, the seaside resort of Morecambe in Lancashire. "
Rovingian Council - Rovingian Council - Exploring the Universal Language of Symbols and Forms by Daniel Arrhakis (2026)
Exploring the Universal Language of Symbols and Forms (I)
Introduction to the Rovingian Quest: The Language of Silence
Rovingian nomadic monks are known for their dedication to the quest for sacred symbols and geometries, transcending the boundaries of traditional ritualistic patterns. For these monks, the spiritual world does not express itself through alphabetic languages, whether spoken or written. Instead, they believe that spiritual communication manifests itself through a visual language composed of geometric forms and patterns that are incorporated into the very structure of Nature and the Universe.
The Language of Silence
By rejecting spoken languages, Rovingians aim to eliminate cultural and mental barriers, seeking a direct and intuitive connection with the cosmos. This connection is achieved through the study and contemplation of sacred geometries, symbols, and ritualistic patterns. Thus, they pave the way for silent communication, a truly profound visual language that allows for a dialogue with the universe without the limitations of words.
The Visual Language: While words vary and disappear over time, the ways in which the triangle or spiral maintains mathematical meaning anywhere in the universe highlight its universal and timeless value.
The Geometric Source Code of the Universe
Rovingians believe that the universe is governed by a fundamental geometric code. Understanding this code allows one to unravel the hidden order of reality. For them, studying sacred geometry is a way to reconnect with the cosmos, treating nature as a true living temple, and the universe as a symbolic book, open to interpretation.
The Living Temple: For the monks, the world does not contain temples; the world is the temple itself. Natural elements, such as a nautilus shell or a quartz crystal, are seen as sacred scriptures. For example, the quartz crystal is not just a mineral, but a geometric lesson on order, clarity, and repetition.
________________________________________________________________________________________________
Explorando a Linguagem Universal dos Símbolos e Formas (I)
Introdução à Busca Rovingiana: A Linguagem do Silêncio
Os monges nómadas rovingianos são conhecidos pela sua dedicação à procura de símbolos e geometrias sagradas, ultrapassando as fronteiras dos padrões ritualísticos tradicionais. Para estes monges, o mundo espiritual não se expressa através das línguas alfabéticas, sejam elas faladas ou escritas. Em vez disso, acreditam que a comunicação espiritual se manifesta por uma linguagem visual composta por formas e padrões geométricos que estão incorporados na própria estrutura da Natureza e do Universo.
A Linguagem do Silêncio
Ao rejeitarem as línguas faladas, os rovingianos pretendem eliminar barreiras culturais e mentais, buscando uma ligação direta e intuitiva com o cosmos. Essa conexão é alcançada através do estudo e contemplação das geometrias sagradas, símbolos e padrões ritualísticos. Assim, abrem caminho para uma comunicação silenciosa, uma verdadeira linguagem visual profunda, que permite um diálogo com o universo sem as limitações das palavras.
A Linguagem Visual: Enquanto as palavras variam e desaparecem com o tempo, formas como o triângulo ou a espiral mantêm o significado matemático em qualquer parte do universo, evidenciando o seu valor universal e intemporal.
O Código-Fonte Geométrico do Universo
Os Rovingianos acreditam que o universo é regido por um código geométrico fundamental. Compreender esse código permite desvendar a ordem oculta da realidade. Para eles, estudar as geometrias sagradas é um caminho para se reconectar ao cosmos, tratando a natureza como um verdadeiro templo vivo, e o universo como um livro simbólico, aberto à interpretação.
O Templo Vivo: Para os monges, o mundo não contém templos; o mundo é o próprio templo. Elementos naturais, como uma concha de nautilus ou um cristal de quartzo, são vistos como escrituras sagradas. Por exemplo, o cristal de quartzo não é apenas um mineral, mas sim uma lição geométrica sobre ordem, clareza e repetição.
Decoration on a bridge over the Landwehr Canal in the Berlin Zoological Garden
Verzierung an einer Brücke über den Landwehrkanal im Zoologischen Garten Berlin
Nikon FM3A + Lensbaby 2.0 @ f/2 Fomapan 400 in Adox XT-3
Estas forman parte del Centro Termolúdico de Caldea, en el Principado de Andorra más concretamente en la pequeña población de Escaldes-Engordany. Al atardecer y dado el contraluz las nubes se reflejaban sobre la cúpula de su fachada principal.
© All rights reserved.
This Image may not be copied, reproduced, distributed,
republished, downloaded, displayed, posted or trasmitted
in any forms or by any means, including electronic,
mechanical, photocopying & recording without My written
permission.
la Forma della Distanza è varia
ci sono Distanze che si riempiono invecchiando,
diventa allora una consolazione l'idea del tempo che passa
ci sono Distanze che si colmano spostandosi,
trovando uno spazio comune che ci includa
questa foto per raccontare lo spazio incolmabile,
la distanza che non torna indietro,
che non si erode
lo spazio che ci descrive come differenti... per sempre