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The white form of Calopogon tuberosus or Common Grass-pink orchid is currently blooming in my bog garden.
Model: Janae Fulton
Photographer: Justin Bonaparte
during my second shoot with Alexis, I happened to lie on the ground to get a different angle, and realized the puddle in front of her was throwing a reflection! Managed to snap this frame when the wind stopped blowing, giving a perfect mirror effect. I'm very thankful it rained the day before :D
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Brown Hare, Kinnordy. Hard frost covered the grass in the field where about a dozen hares regularly hang out. We saw around 7 easily today as they were quite obvious against the white background, tho all hunkered down, apart from one.
-> love letters...
-> love cakes...
-> love for light...
-> tiny love...
-> cookie love...
-> love for the sea...
-> love tweets..
-> love for vintage...
-> soft love like the clouds...
and moslty love for all things and all moments beautiful...
Have a delightful weekend! : )
1. L E T T R E S, 2. Double Chocolate & Raspberry Pavlova, 3. To say thank you: a stamp of love, 4. new skirt for singing, 5. ? 6. Blue Skies Monday, 7. {sneak-peek #1}, 8. 127/365..., 9. DIY: Faux Sheepskin Cloud-shaped Rugs
...apologising for not being able to provide a proper link for the picture of the lovely, heart shaped cookies in #5, I hope for this to be corrected soon.
Montreal's iconic Olympic Stadium….designed by French architect Roger Taillibert and built for the 1976 Olympics, has had a troubled history…. construction was not completed before the games… it was finally completed in 1987… you can ride to the top of the tower on a funicular…. another feature is the retractable roof, which always struck me as useful, but this design as unnecessarily frivolous.
This image cannot be used on websites, blogs or other media without explicit my permission. © All rights reserved
Église Notre-Dame-des-Neiges de L'Alpe d'Huez. Une petite chapelle, construite en 1940, plantée au centre de l'Alpe d'Huez, était consacrée au culte marial. Trop petite pour accueillir les nombreux touristes des Jeux olympiques de 1968, le curé Jaap Reuten, Hollandais, imagine le projet d'une nouvelle église et demande en 1960 à Jean Le Boucher et à l'architecte Jean Marol (1930-2010) de faire construire une église en forme de tente (représentant celle du patriarche Abraham). De magnifiques vitraux entourent la nef, de forme ovale, représentant la vie de Jésus-Christ d'après l'évangile de saint Marc, réalisés par l'artiste Arcabas.
The above selection of corniforms seem to be free-form - verging on doodles, and tethering them may not seem at first to be viable. The images are from C Bicknell's originally published 1913 drawings of petroglyphs from around Mont Bégo (archive.org/details/GE0036GenB212/page/n187).
For the montage I took individual shots using Jupiter 8 50mm f2 converted for an M39 adapted Pentax K3 (helicoidal removed), and then processed and colourised. The texture is therefore from half-tone dot and not rock, and the imperfections originate from Bicknell's pencil sketches and not geological fissures. One aim was to re-perceive the images and, for the fun, to take the Bronze age towards contemporary references such as Basquiat and Haring.
The corniform symbol is well known from the neolithic and bronze age and is recognisable as a schematic image of cow horns on either a scull or a reduced schematic cow's body. The majority of symbols around the Mont Bégo mega site are corniforms. Whilst many are simple in form, there are regular examples that have horns that are horn in name only. They originate either side of the cow's head before sending off like lines of free-form jazz. Some of these are presented in the above image. Giant steps.
I will argue that many of these concertinaed undulations may have been inspired by the landscapes of the crofter's 'home' - in effect linking the corniform to a local geography. The mark of a permanent address before solicitors deed, mortgage or rental agreement. Therefore, for a cow-form hut, the deciding shape of courtyard fencing can be one that links the hut to the main lines of its surrounding landscape. Some might be shared land, other fields might be from deep within a clan's past.
Here, the descriptive 'horns' are from waves in the hut's entrance fencing, a simple structural addition that remains perfectly adapted to the Alpes-Maritimes, where temperatures can be hot for long periods, winds can be strong and storm and snow a challenge. Shade, wind break and a space free from drift snow - a working court yard for a fire, general out door work, and a descriptive and idiosyncratic home 'profile' that is hard to miss if fog or mist descend and you are returning from afar.
In other posts from the Mont Bégo Flickr album, I argue that the bronze age evolution of the corniform symbol expanded its meaning to also describe cow-form huts. Here the schematic top right image may be two huts in a conglomerate with two wheel like animal pens and two storage points outside of the lower hut. The turquoise symbol, top left would be a hut backing onto an oblong of 13 field spaces - possible a series of crop gardens or allotments. The lower turquoise symbol would be a ring fence crossing a hut. Here there would have been little need for extended 'horn/valley-style' 'farmyard' fencing, and so this architectural 'convention' may have been logically atrophied. Bottom left - a six legged cow or a cow-form hut with six guide-ropes from a flat valley with steep sides. The white image in the centre may have very large entrance fences that in the end provided a perfect space for an interior hut. No need for fencing, so no 'horns' for the entrance of this building addition. Here the valley would have been a classic glacial 'U' shape.
One must expect that sometimes the horns describe a valley for its cross section and at others a valley for the buttresses of meandering rock.
AJM 21.2.19
Questo succedersi, mi sembra ormai chiaro, non lo afferriamo con la ripetizione di gambe, di braccia, di figure, come molti hanno stupidamente supposto, ma vi giungiamo attraverso la ricerca intuitiva della forma unica che dia la continuità nello spazio.
(Umberto Boccioni)
Red-figure terracotta rhyton in the form of a ram's head, with touches of white paint. The ram's head is black, the horns left in the color of the clay and marked with red transverse lines; the cornea of the eyes are yellow with black spots, and the pupils black. Around the lip of the cup is egg-molding; on either side of the design are palmettes.
On the cuff, a youthful Dionysos is seated on a cushion and wearing a white fillet, the ends hanging down, a wreath, and a himation over his thighs. In the crook of his left arm is an ivy-topped thyrsos and at his right side is a kottabos-stand, to which is attached a white taenia (ribbon). Before him is a dancing satyr, with his left hand raised.
Greek, made in Apulia (part of Magna Graecia, the Greek colonies in Italy), ca. 370-350 BCE. Attributed to the Iliupersis Painter.
Height: 19.05 cm (7.5 in.)
British Museum, London (1846,0629.47)
Table Mountain (Khoekhoe: Huriǂoaxa, lit. 'sea-emerging'; Afrikaans: Tafelberg) is a flat-topped mountain forming a prominent landmark overlooking the city of Cape Town in South Africa.
It is a significant tourist attraction, with many visitors either using the cableway or hiking to the top.[4] The mountain has 2,285 plant species,[5] of which around 80% are fynbos (Afrikaans for 'fine bush'). Table Mountain National Park is the most visited national park in South Africa, attracting 4.2 million people every year for various activities.[6] It forms part of the lands formerly inhabited by Khoe-speaking clans, such as the !Uriǁʼaes (the "High Clan").
Table Mountain is home to a large array of mostly endemic flora and fauna.[7] Its top rises about 1,000 m above the surrounding city, making the popular hike upwards on a large variety of different, often steep and rocky pathways a serious mountain tour which requires fitness, preparation and hiking equipment.
Features
Table Mountain as seen from Lion's Head, with low-lying cloud cover over Cape Town
Cape Town under the clouds
The main feature of Table Mountain is the level plateau approximately three kilometres (2 mi) from side to side, edged by steep cliffs. The plateau, flanked by Devil's Peak to the east and by Lion's Head to the west, forms a dramatic backdrop to Cape Town. This broad sweep of mountainous heights, together with Signal Hill, forms the natural amphitheatre of the City Bowl and Table Bay harbour. The highest point on Table Mountain is towards the eastern end of the plateau and is marked by Maclear's Beacon, a stone cairn built in 1865 by Sir Thomas Maclear for trigonometrical survey. It is 1,086 metres (3,563 ft) above sea level, and about 19 metres (62 ft) higher than the cable station at the western end of the plateau.
The cliffs of the main plateau are split by Platteklip Gorge ("Flat Stone Gorge"), which provides an easy and direct ascent to the summit and was the route taken by António de Saldanha on the first recorded ascent of the mountain in 1503.[8]
The flat top of the mountain is often covered by orographic clouds, formed when a southeasterly wind is directed up the mountain's slopes into colder air, where the moisture condenses to form the so-called "table cloth" of cloud. Legend attributes this phenomenon to a smoking contest between the Devil and a local pirate called Van Hunks.[9] When the table cloth is seen, it symbolises the contest.
Table Mountain is at the northern end of a sandstone mountain range that forms the spine of the Cape Peninsula that terminates approximately 50 kilometres (30 mi) to the south at the Cape of Good Hope and Cape Point. Immediately to the south of Table Mountain is a rugged "plateau" at a somewhat lower elevation than the Table Mountain Plateau (at about 1,000 m or 3,300 ft), called the "Back Table". The "Back Table" extends southwards for approximately 6 km to the Constantia Nek-Hout Bay valley. The Atlantic side of the Back Table is known as the Twelve Apostles, which extends from Kloof Nek (the saddle between Table Mountain and Lion's Head) to Hout Bay. The eastern side of this portion of the Peninsula's mountain chain, extending from Devil's Peak, the eastern side of Table Mountain (Erica and Fernwood Buttresses), and the Back Table to Constantia Nek, does not have a single name, as on the western side. It is better known by the names of the conservation areas on its lower slopes: Groote Schuur Estate, Newlands Forest, Kirstenbosch Botanical Gardens, Cecilia Park, and Constantia Nek. Wikipedia