Blanketing the City IV is a 2021 Vancouver Mural Festival public art project.

Six barren concrete pillars now have a colourful coating.

Located above a downtown Vancouver underground BC Hydro sub-station, Cathedral Square Park was one of a few permanent structures designed by Bruno Freschi for Expo 86.

Three Indigenous weavers (one from each of the three local First Nations) designed the interconnected murals to blanket all of the site's immense concrete pillars.

Debra Sparrow invited master weavers Chief Janice George (Sḵwxwú7mesh) and Angela George (səlilwətaɬ) to collaborate on the design of the murals.

Blanketing The City IV: Cathedral Square transmits and magnifies the visibility of xwməθkwəyə̓ m, Sḵwxwú7mesh ̱and səlilwətaɬ culture on their ancestral lands.

This project is a deep exploration and implementation of Indigenous visibility in public spaces via a multi-year collaboration between these weavers.

Blanketing The City IV: Cathedral Square, is the first semi-permanent public art collaboration between weavers from the three local nations.

Blanketing the City asserts the visibility and culture of the Musqueam, Squamish and Tsleil Waututh people on their unceded lands.

In the central nave is the cross of 16 m, the main altar and the commungatory that separates the sanctuary from the Assembly.

In the mountains, about 500 meters from Zipaquirá, there is a salt cathedral, 50 km from Bogota. About 250,000 tons of salt were removed to sculpt the bleak and ethereal underground sanctuary, heralded as one of Colombia's greatest architectural achievements. You descend 180 meters from the surface passing through 14 small chapels that represent the Stations of the Cross, each of them a sentimental triumph of symbolism and mining. But nothing anticipates the culmination of the trail in the main nave, where a monumental cross (the world's largest underground church) is lit from the bottom up.

The Sacred Axis, a square with a halite hand carved cross (4.2 meters (14 ft) height).

The three ships: They are interconnected by a crack, symbolizing the birth and death of Christ.

Copies of Creation of Adam and Pieta can be seen.

Four large cylindrical columns representing the Four Evangelists.

Based on a mission with three interconnected components (Circus - Earth - Human), La TOHU is a laboratory for sustainable development through culture.

As the only presenter specializing in contemporary circus in North America, it supports the development of the discipline by offering the best of circus from here and elsewhere around the world, in season and through its MONTRÉAL COMPLÈTEMENTEMENT CiRQUE Festival, while supporting training, research, creation and circulation within an international network. It also supports the education of audiences and the building of a memory of circus through mediation, exhibitions and the development of the Jacob William Fund). It thus contributes to positioning Montreal as the international capital of the circus arts.

As the first LEED Gold-certified green building in Quebec, La TOHU acts as a reception and interpretation pavilion in Frédéric-Back Park, a model of transformation and environmental engineering. It offers a wide range of educational activities related to the environment and guarantees compliance with the highest standards for the organization of eco-responsible events.

Finally, anchored in the heart of the Saint-Michel district, one of the most disadvantaged but also one of the youngest and most multicultural districts in Canada, it acts as a driving force for cultural, social and economic vitality in its territory. Like a cultural center, it offers free multidisciplinary programming for neighbourhood residents, while developing expertise in the organization of major outdoor events such as the Saint-Michel FALLA. It is distinguished by a bold local employability policy that favours the Saint-Michel youth.

S’appuyant sur une mission à trois volets interconnectés (Cirque – Terre – Humain), la TOHU est un laboratoire de développement durable par la culture.

LE CIRQUE

Seul diffuseur spécialisé en cirque contemporain en Amérique du Nord, elle appuie le développement de la discipline en offrant le meilleur du cirque d’ici et d’ailleurs, en saison et via son Festival MONTRÉAL COMPLÈTEMENT CiRQUE, tout en soutenant l’entraînement, la recherche, la création et la circulation au sein d’un réseau international. Elle appuie aussi l’éducation des publics et la constitution d’une mémoire du cirque via de la médiation, des expositions et la mise en valeur du Fonds Jacob William…). Elle contribue ainsi à positionner Montréal comme capitale internationale des arts du cirque.

LA TERRE

Premier bâtiment vert certifié LEED Or au Québec, la TOHU agit à titre de pavillon d’accueil et d’interprétation du parc Frédéric-Back, modèle de transformation et d’ingénierie environnementale. Elle offre une vaste gamme d’activités éducatives relatives à l’environnement et garantit le respect des plus hauts standards d’organisation d’événements écoresponsables

L'HUMAIN

Enfin, ancrée au cœur du quartier Saint-Michel, l’un des plus défavorisés mais aussi des plus jeunes et multiculturels au Canada, elle agit comme moteur de vitalité culturelle, sociale et économique dans son territoire. À l’instar d’une maison de la culture, elle offre une programmation multidisciplinaire gratuite destinée aux résidents du quartier, tout en développant une expertise dans l’organisation de grands événements extérieurs tels que la FALLA de Saint-Michel. Elle se démarque par une audacieuse politique d’employabilité locale pour les jeunes de Saint-Michel.

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Please take your time... to View it large on black

The Netherlands is a small country of 16 million people, but it boasts a quarter of a million competitive speedskaters, and millions more who skate for fun. What's the story? Natural ice in the Netherlands is a rare occurrence. In fact, some winters there's no natural ice at all. Maybe that explains why the Dutch love to skate outdoors. They hardly ever get the chance! But when a cold wave hits, and the interconnected maze of canals, rivers and lakes freeze over, it's a spontaneous celebration, a national holiday. Infinite sea of ice is perfect for ice skating journeys. Ice skating is not only a Dutch sport, it also underwrites the history, art and culture of the Netherlands. Perhaps most importantly a good freeze provides the Dutch a chance to discover the wilderness and an outdoor challenge within their own landscape. The Netherlands are a long distance skater's dream. Hundreds of kilometres of potential routes can carry the skater to the heart of a wild landscape. Today same as last year we could ice skating on the Gouwsea. Ice skating can be done from Monnickendam - Nes - Marken and from Marken back. Infinite sea of ice is perfect for ice skating journeys. Besides ice skating Dutch also love Ice yachting. This is the sport of sailing and racing iceboats and is very popular in the Netherlands. Ice boats are racing at a speed of 100 km an hour over the ice of the Gouwsea.

Waterland in the winter is a real skater’s paradise. As temperatures plunge across Europe, many are cursing the cold. But not in the Netherlands. Many are hoping for further frigid conditions. Photo taken of two speedskaters and an Infinite line of Dutch skaters on the vast frozen Gouwsea. A historical moment since crossing the Gouwsea by skates is such a rare occurrence. Today I skate from Monnickendam - Nes - Marken - Nes and back to Monnickendam a trip of 16km, such a beautiful sea of ice to enjoy.

Op 25 januari 2013 een schaatstocht gemaakt rond de Gouwzee van Monnickendam - Nes - Marken - Monnickendam. Bij Volendam lag dit keer te veel sneeuw en onbegaanbaar. Eindelijk weer een dag waarin Waterlanders de ijzers konden onderbinden. De Gouwzee helemaal dichtbevroren en dit is nu al vier van de drie laatste winters gebeurd. Maar het blijft een historische ijstocht. Vele honderden schaatsenrijders zoeken vandaag de bevroren oppervlakte van de Gouwzee op voor een schaatstocht langs alle havens. Mensen kunnen een rondje Gouwzee schaatsen. Een groot ijsoppervlakte tussen Monickendam en Marken met prima ijs. Een oneindig mooi gezicht op deze ijszee anno 2013. Het was genieten. De weilanden zijn hier wit, de Gouwzee totaal bevroren en de adem komt in kleine grijze pufjes uit mijn mond. Handen op de rug. Rustig ademen. Ik geniet van het geluid van de ijzers over het ijs en het prachtige uitzicht over de besneeuwde landschap. Het ijs is geweldig hier. Ik stop nog even voor het maken van foto. Deze two schaatsers schaatsen hier vanaf de dijk richting Marken met stevige tegenwind. Met minimale inspanning kan je hier wel 50km/uur schaatsen. Het levert een prachtig plaatje op.

By reducing the smaller squares, I managed to add in another module. The model is from 3 strips of paper measuring 62cm x 4cm. Perhaps more modules can be added by extending the larger square but the model will not be stable. I guess I shall stop here. I shall now experiment with pentagons and perhaps hexagons.

*Ocean, is the interconnected mass of saltwater covering 70.78% of the surface of the earth. Often called the world ocean, it has an area of about 361 million sq km, an average depth of about 3,730 m, and a total volume of about 1,347,000,000 cu km.

Feel the Ocean Breeze, San Diego, California, USA

PixQuote:

"You are asking me what makes a good picture. For me, it is the harmony between subject and form that leads each one of those elements to its maximum of expression and vigor."

-Henri Cartier-Bresson

Melbourne University Underground Car Park, built 1972. The only intact car park on the Victorian Heritage Register. Designed by architectural firm Loder and Bayly in association with Harris, Lange and Partners, it is famous for its two Atlas figures from the demolished Colonial Bank, Elizabeth Street, and was used in the original Mad Max.

The design comprises a series of reinforced concrete shells with parabolic profiles supported on short columns. The columns encase pipes to drain the soils above for the planting of lawn and trees of the South Lawn. van der Molen's design of sophisticated hyperbolic-parabaloidal platforms, was described as ...saucer-shaped flowerpots on columns, interconnected to form arches. The deep dishes of the concrete forms allowed large trees to be planted on its roof.

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***There is no AI in this image ***

All manipulations were created in Photoshop.

Stock used:

Envato

Artwork ©jackiecrossley

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Listen and enjoy: P!nk - Just Like A Pill (Official Video)

One of my favorite spots for meditation. These General Sherman (mammoth) trees are magnificent.

© Andy Brandl / PhotonMix (2011)

Don´t redistribute / use on webpages, blogs or any other media without my explicit written consent

Nitmiluk National Park is in the Northern Territory of Australia, 244 km southeast of Darwin, (4 hours or 350 km by road) around a series of gorges on the Katherine River and Edith Falls.

Previously named Katherine Gorge National Park, its northern edge borders Kakadu National Park. The gorges and the surrounding landscape have great ceremonial significance to the local Jawoyn people, who are custodians of Nitmiluk National Park. In Jawoyn, Nitmiluk means "place of the cicada dreaming".

Katherine Gorge, a deep gorge carved through ancient sandstone by the Katherine River, is the central attraction of the park. Katherine Gorge is made up of thirteen gorges, with rapids and falls, and follow the Katherine River, which begins in Kakadu. During the Dry, roughly from April to October, the Katherine Gorge waters are placid in most spots and ideal for swimming and canoeing.

There can be freshwater crocodiles in most parts of the river, as they nest along the banks, but they are generally harmless to humans unless provoked. Saltwater crocodiles regularly enter the river during the wet season, when the water levels are very high, and are subsequently removed and returned to the lower levels at the onset of the dry season. Thus, swimming in the wet season is prohibited.

Cruises of various lengths go as far as the fifth gorge. The gorges can be explored by canoe and flat bottomed boat. In the dry season the gorges become separated as the level of the river falls. They are interconnected in the wet. There is a visitor centre and accommodation located at the Katherine Gorge, about 30 km east of the town of Katherine.

Freshwater crocodiles are widely distributed along the river year-round. During the wet season, rises in water levels may allow saltwater crocodiles to enter the gorge, where they are caught and relocated to lower levels when the dry season begins.

Birds that can be seen include ospreys, red-tailed black cockatoos, great bowerbirds, white-gaped honeyeaters and red-winged parrots. Part of the Yinberrie Hills Important Bird Area, identified as such by BirdLife International because of its importance for endangered Gouldian finches, lies in the park

For my video; youtu.be/edQJsGn35Po,

Lynnmour, District of North Vancouver, British Columbia,

Canada.

The Park & Tilford Gardens is a 1.5-acre (6,100 m2) (originally 3-acre (12,000 m2)) botanic garden situated in the City of North Vancouver, British Columbia. The complex, established in 1969 as a community project of Canadian Park & Tilford Distilleries Ltd., consists of eight separate but interconnected areas. The original gardens were designed by Harry J. Webb of Justice & Webb Landscape Architects.

Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:

Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.

The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.

As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.

Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.

At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.

Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.

The Middle Saluda River is the centerpiece of the gorgeous Jones Gap State Park in Upstate South Carolina. This state park joins with Caesars Head State Park and other lands as part of Mountain Bridge Wilderness with a lot of interconnected trails near Cherokee Foothills National Scenic Highway.

This is one of New York's newest and greatest attraction a series of interconnected stairs that will probably become iconic when they used as a location for a movie.

The person on the floor is a professional photographer who was taking pictures of the family with the dog. She had them all lined up dog, humans and background when another family wandered into shot. She then shouted at them at the top of her voice to get out of the way. I was amazed, I wouldn't have the balls to do that. The things you have to do to make a living in New York

Since their untimely exit from Rodinia, the remaining holdouts from the nation formerly known as Zuritania have settled in to their new home in Antarctica, known to the handful of native peoples as Shambhala and named Neuschwabenland by G*rmanic explorers. As the population of the continent grows exponentially with Rodinian refugees, a network of fishing villages, scientific stations, and military installations is developing. But neither the coastal tundras, treeless and frozen in permafrost, nor the vast polar icecap, riddled with crevasses, are suited to roadbuilding or regular travel. Bush pilots and fishing trawlers handle some of the civilian travel, but for long-term sustained growth the continent will need to build modern road networks, or at least snow-free paths. The AET-6000 is a stepping-stone to a more interconnected future for the people of the South Pole.

It's a nuclear-powered exile RV. What more do you want? There's some cutaways and technical details on the next photo. The vibes here are heavily inspired by Finn Roberts' Hibernia Mining Truck, go check him out.

Interconnected — a statue by Karl Ehlers. Part of this series.

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Multitude Exhibit | MiMA Museum

A thought-provoking commentary on surveillance in our interconnected world?

Loved the display at Multitude exhibit at MIMA and how Vhils unearths hidden narratives from discarded objects while challenging our perceptions.

www.mimamuseum.eu/multitude/

In around the 11th century, two byzantine chapels were carved directly into the rock of the Davelis cave entrance which are rather unusual in the fact that they are interconnected, converging as one church within two sanctums and are said to be dedicated to Saint Spyridon and Saint Nicolas. The smaller of the chapels contains glyphs and engravings thought to have been produced by the anchorites, and there is a mural in the larger one depicting Michael Akominatos, the last Greek archbishop of Athens.

They were used by twelfth-century Christian hermits associated with the Gnostics.

Today's outing with the Environmental Cultural Club of Attica (www.peripolo.gr) was to visit the Ancient quarries of Mount Pentelikon where the world renowned marble was taken from, which was used to build the Acropolis and other Ancient Monuments.

The ancient quarry is protected by law, and used exclusively to obtain material for the Acropolis Restoration Project. This roadway, used to transport marble blocks from the quarry to the Acropolis in antiquity, is a continual downhill, and follows the natural lay of the land. It has been researched and fully documented by the chief Acropolis restoration architect, Professor Manolis Korres, in his award-winning book "From Pentelicon to the Parthenon". A monastery is also located in the middle of the mountain, north-east of city centre.

Thanassis Fournarakos - Θανάσης Φουρναράκος

Professional Photographer, Athens, Greece

(retired in 2011, born in 1946).

© ALL RIGHTS RESERVED

None of my images may be downloaded, copied, reproduced, manipulated or used on websites, blogs or other media without my explicit written permission. THANK YOU!

food is a dangerous subject matter because it tends to disappear as you're working with it . My initial plans was to photograph some Danish from my favorite bakery Crispelli's in Royal Oak. However bread and butter is the king, as a carbohydrate junkie anything from pastries to bread and confections etc. is something that I eat all too often. This is epi bread with a little butter on it.

Epi bread is a type of artisan bread which is often made at French-style bakeries. The bread is a popular picnicking bread, since it consists of a series of yeast rolls which are interconnected to look like a stalk of wheat.

Hi' everyone, I hope you are all keeping well!

"Singing Cog"

I'm meshed together interconnected, wizzing slowly as expected,

cogwheels clicking interlocking, grasping teeth forward clocking,

Oh, my little cogs spinning needing oil, as it's started squeaky singing.

original poetry

by Sean.

Anyway, this macro image is a very small macro image of around 2 x 2 inches section of a golden plastic clock. It's my choice for Macro Mondays this week with a topic of "Cogwheel"

This clock shows all its numerous working cogs, and thats the reason I purchased said clock originally, as I like to see the cogs turning and meshing together as they do.

I bought the clock ⏰️ at a boot sale, or garage sale, because it looks interesting, when I arrived home I found batteries that fitted and off she went ticking with loads of cogs turning, and kept excellent time also.

I hope you like my little coggie macro image. If you do well, that's just brilliant 👍

Love Everyone 😍

On Saturday on Saturday July 5, the theme is "TRIPTYCH"; this was proposed by SJBrooksbank.

I've found this DEFINITION...

In photography, a triptych is a set of three associated or interconnected images displayed together as a single artwork. It's like a visual story told through three separate but related photographs, often with a shared theme or narrative.

Here's a more detailed breakdown:

- three images:

a triptych is fundamentally composed of three individual photographs, displayed side-by-side.

- cohesive whole:

these three images are not just displayed side-by-side; they are meant to be viewed together as a single, unified piece of art.

- narrative or theme:

the images in a triptych often share a common theme, subject, or narrative, creating a more complex and layered visual experience.

- visual storytelling:

the triptych allows the photographer to explore a subject from multiple perspectives or show a progression of events, adding depth and intrigue to the overall presentation.

- example:

think of three photos capturing different stages of a flower blooming, or three portraits of the same person from different angles, all presented together as a triptych.

*THREE DIFFERENT PHOTOS*:

- This theme is NOT about 'a triptych of one photo'... a triptych of one photo refers to a single photograph that is divided into three separate, but visually connected, panels or sections and displayed together. Like this...

Beam Of Ornage by Photos By Buddy1

Nespoon est une artiste polonaise originaire de Varsovie qui a commencé à peindre en 2009. Elle recouvre les murs du monde entier de pochoirs géants inspirés de broderies traditionnelles. "Avec la dentelle, la chose amusante, c'est que vous trouvez le même genre de motifs partout dans le monde. C'est comme si l'énergie des femmes était la même, comme si elles étaient toutes interconnectées sur la planète" a t-elle confié lors de son passage en France

Cette grande fresque a été commandée suite au festival de street-art de la ville par la Cité de la Dentelle. Elle orne la façade du bâtiment du 19ème siècle qui servait autrefois d’usine.

Localisation : 5 Rue Sambor, Calais

Source: www.trompe-l-oeil.info/Murspeints/details.php?image_id=97764

-----------------

Nespoon is a Polish artist from Warsaw who started painting in 2009. She covers walls around the world with giant stencils inspired by traditional embroidery. "With lace, the funny thing is that you find the same kind of patterns all over the world. It's like the energy of women is the same, like they're all interconnected on the planet," she said during her visit to France

This large mural was commissioned following the city's street-art festival by the Cité de la Dentelle. It adorns the facade of the 19th century building that once served as a factory.

Location: 5 Rue Sambor, Calais

Plitvice Lakes National Park, Croatia.

Plitvice Lakes National Park is Croatia’s best-known national park, listed on the UNESCO List of World Heritage sites. It is a popular visiting destination all year round, and must-see for every visitor to Croatia.

Well known for its system of cascading lakes - whereby sixteen lovely lakes are interconnected by cascades and waterfalls. The park is simply beautiful. The main focus of park's beauty are sixteen lakes, divided into two parts - Gornja jezera (Upper lakes) and Donja Jezera (Lower Lakes), as well as numerous waterfalls and cascades.

For video, please visit youtu.be/6p-MI7efeCw

© all rights reserved by B℮n

The Netherlands is a small country of 16 million people, but it boasts a quarter of a million competitive speedskaters, and millions more who skate for fun. What's the story? Natural ice in the Netherlands is a rare occurrence. In fact, some winters there's no natural ice at all. Maybe that explains why the Dutch love to skate outdoors. They hardly ever get the chance! But when a cold wave hits, and the interconnected maze of canals, rivers and lakes freeze over, it's a spontaneous celebration, a national holiday. Infinite sea of ice is perfect for ice skating journeys. Ice skating is not only a Dutch sport, it also underwrites the history, art and culture of the Netherlands. Perhaps most importantly a good freeze provides the Dutch a chance to discover the wilderness and an outdoor challenge within their own landscape. The Netherlands are a long distance skater's dream. Hundreds of kilometres of potential routes can carry the skater to the heart of a wild landscape. Today after 4 years we we could ice skating on the Gouwsea. Ice skating can be done from Monnickendam - Nes - and back. Infinite sea of ice is perfect for ice skating journeys. Besides ice skating Dutch also love Ice yachting. This is the sport of sailing and racing iceboats and is very popular in the Netherlands. Ice boats are racing at a speed of 100 km an hour over the ice of the Gouwsea but today day there was no wind.

Waterland in the winter is a real skater’s paradise. As temperatures plunge across Europe, many are cursing the cold. But not in the Netherlands. Many are hoping for further frigid conditions. Photo taken of Mute Swans on the edge of the Gouwzee. Dutch skaters on the vast frozen Gouwsea. A historical moment since crossing the Gouwsea by skates is such a rare occurrence. Today I skate in Monnickendam, such a beautiful sea of ice to enjoy.

Op 22 januari 2017 een eerste schaatstocht gemaakt in Monnickendam. Het ijs is prachtig op de Gouwzee. Bij Volendam ligt het nog open. Eindelijk weer een dag waarin Waterlanders de ijzers konden onderbinden. De Gouwzee is voor een groot gedeelte dichtbevroren. Het is vier winters geleden dat dit voor het laatst gebeurde. Het blijft een bijzonder tafereel. De eerste schaatsers gaan het ijs op en schaatsen van Monnickendam naar de Nes. Een groot ijsoppervlakte tussen Monickendam en Marken is nog niet overal betrouwbaar. Een oneindig mooi gezicht op deze ijszee anno 2017. Het was genieten. De Gouwzee ligt er prachtig bij en de adem komt in kleine grijze pufjes uit mijn mond. Handen op de rug. Rustig ademen. Ik geniet van het geluid van de ijzers over het ijs en het prachtige uitzicht over de eindeloze ijsmassa. Het ijs is geweldig hier. Ik stop nog even voor het maken van foto. Het levert een prachtig plaatje op. Een knobbelzwanen paartje aan de rand van de Gouwzee. Als deze grote vogels overvliegen, klinkt een luid fluitend geluid van de vleugels. Niet-broedende zwanen zijn veelal op weilanden te zien, waar ze zich tegoed doen aan gras. Beide partners van een broedpaar zijn elkaar meestal een leven lang trouw. Sterft één van beide vogels, dan zoekt de ander soms pas na enkele jaren een nieuwe partner.

The international group of artists in Ghosts of the Machine reminds us that despite its otherworldly lustre, cyberspace cannot be separated from the “real world”. It is an extension of our societies, economy, and ecosphere. Through the glowing interfaces associated with digital media, these artists constantly point back to the world offline. By defying the imaginary boundary between online and offline worlds, they slip across other made-up binaries: between human versus nonhuman, technology versus nature. They reveal how these things do not exist in opposition to each other, but are in fact continuous and fluidly interconnected.

India, Kerala or Kēraḷam, Backwaters.

Kerala’s from civilization almost untouched rich in fish, fertile unique backwaters.

Water Buffalos;

The water buffalo is a large, up to 3m long & heavy, strong cattle. The head is long, narrow, with small ears & set low on the body. The horns are horizontal & sickle-shaped backwards, these can reach a span of two meters, the horns of the female are significantly narrower & shorter than the males. The water buffalo stands on long, strong legs with wide hooves, the claws are spread wide, so the water buffalo don't sink into their swampy habitat.

📍… The wild water buffalo is listed as an endangered species, estimated about only 1000 water buffalos are still living in Asia.

Grasses, herbs & aquatic plants are the main part of his diet, but also leaves & small branches, he feeds exclusively vegetarian.

If the herd lives near humans, the water buffalo will also eat cultivated grain. Water buffalos are ruminants; searching for food, wild water buffalos they usually go in small groups split off from the main group, only looking for food in the evening hours.

👉….At 7 to 8%, buffalo milk contains almost twice as much fat as cow's milk. It is used to make the real mozzarella cheese in Italy, the "Mozzarella di Bufala campana", while the delicious “Burrata” is mainly made from cow's milk & rarely from water buffalo milk.

All European domestic water buffalos descend from the Asian wild water buffalo. Their domestication probably began 3000 years BC. in China, Pakistan & Iraq. In the 6th century they reached Europe via Bulgaria & Greece.

Today the European water buffalo is mainly found in Italy, Bulgaria, Romania & Hungary.

📌…Kerala’s unique backwaters in South India, is a network of interconnected five large lakes linked by canals, both manmade, fed by 38 rivers & brackish lagoons extending nearly half the length of Kerala state. A labyrinthine system formed by almost 1.000 km of waterways lying parallel to the Arabian Sea coast, known as the “Malabar Coast”.

The backwaters have an exceptional ecosystem; freshwater from the rivers meets the seawater from the Arabian Sea, formed by the action of waves & shore currents creating low barrier islands across the mouths of the many rivers flowing down from the Western Ghats range.

A Thannermukkom Salt Water Barrier, preventing salt water from the sea is entering the deep inside, keeping the fresh water intact. Such fresh water is extensively used for irrigation purposes.

Numerous unique aquatic species including mudskippers, crabs, frogs, water birds such as kingfishers, darters, terns, darters & cormorants, animals like otters & turtles live in the backwaters area. Palm trees, pandanus bushes & other leafy plants grow alongside the backwaters, providing a green shade to the surrounding landscape.

In the middle of this landscape there are a number of towns & cities, which serve as the starting & end points of backwater cruises. The backwaters are one of the noticeable tourist attractions in Kerala.

👉 One World one Dream,

🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over

17 million visits in my photostream with countless motivating comments

Lighting The Sails 'Songlines'

World Premiere, Sydney Only

Directed by the Head of Indigenous Programming at Sydney Opera House Rhoda Roberts

Co-curated by Sydney Opera House and Destination NSW

Visual content and animation created by Artists in Motion

Lighting the Sails for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.

Celebrating First Nations' spirituality and culture through the songlines of our land and sky, this year’s Lighting the Sails is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes. Lighting the Sails Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.

As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia's most influential contemporary First Nations artists, exclusive to Vivid Sydney.

ABOUT THE ARTISTS

Karla Dickens (Wiradjuri)

Karla Dickens was born in Sydney in 1967; the Year of the Referendum that gave Aboriginal people human status. A double dawn for Aboriginal people; a major national political and social shift, and an innocent newborn seemingly as yet without any connection to her history and Aboriginal heritage. Karla’s Aboriginality and sexuality profoundly inform her work – her insight and breadth of artistic practice both deeply embraces the notion of identity politics and yet works with universal human experiences.

Djon Mundine OAM (Bandjalung)

Djon Mundine is a member of the Bandjalung people of northern New South Wales. Djon has an extended career as a curator, activist, writer, and occasional artist and is renown as the concept curator for the Aboriginal Memorial installation permanently exhibited at the National Gallery of Australia. Djon was awarded an OAM in 1993 and is currently Indigenous Curator-Contemporary Art at the Campbelltown Art Centre.

Gabriella Possum (Nungurrayi)

Gabriella Possum was born in 1967 and she is the eldest daughter of the internationally renowned artist Clifford Possum Tjapaltjarri who was awarded the Order of Australia in 2002. Gabriella is best known for her Seven Sisters paintings, with her iconic depiction of the Milky Way and she also paints Bush Tucker and Grandmother's Country stories.

Reko Rennie (Kamilaroi/Gamilaraay/Gummaroi)

Through his art Reko explores what it means to be an urban Aboriginal in contemporary Australian society. Rennie received no formal artistic training but as a teenager discovered graffiti which became an all-consuming passion. His art and installations continually explore issues of identity, race, law & justice, land rights, stolen generations and other issues affecting Aboriginal and Torres Strait Islanders in contemporary society.

Donny Woolagoodja (Worora)

Donny, Mowanjum Artists Spirit of the Wandjina Aboriginal Corporation (MASWAC) chairman, is the fourth eldest of ten children. His father, Sam, was the last of the Worora banmen (lawman and medicine man).

Donny's remarkable upbringing bridges the white Christian beliefs he became aware of at the mission churches and the ancient Wandjina laws his father taught him allowing him to move easily between his Aboriginal people and non-Aboriginal people.

Gulumbu Yunupingu (1954-2012, Gumatj)

Using distinctive white and black crosses on a red ground, Yolgnu artist Gulumbu Yunupingu (1945-2012) painted Garak, the starry universe, on barks and poles. She came to national prominence when she won the National Aboriginal and Torres Strait Islander Award (2004), and to international acclaim in 2006 with her scaled-up version of Garak on permanent display at Musee du Quai Branly (2006).

Artists In Motion

Artists in Motion is a Creative Project company that are highly regarded as pioneers of the industry. Known for their work around the world they still remain a proudly home grown creative force that produces all of their creations from their Sydney studio.

AIM is a collective of unique talent and experienced artists who have worked as a united team for several years. From the Epic to culturally emotional, they continue to transfix audiences of all kinds.

Under the creative leadership of Richard Lindsay, previous projects include content creation for the Beijing Olympics Ceremonies, Vancouver Winter Olympic Ceremonies, Hong Kong Pulse Shows, Alfa Bank Projection Moscow, 1st European Games Baku, the iconic UAE production “Clusters of Light”, as well as previous works for VIVID, including the popular Play projection on the Sydney Opera House.

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Carver Cody Mathias ( Coast Salish, Capilano), 2016

For my video; youtu.be/OqpDnGKtKug,

The Park & Tilford Gardens is a 1.5-acre (6,100 m2) (originally 3-acre (12,000 m2)) botanic garden situated in the City of North Vancouver, British Columbia. The complex, established in 1969 as a community project of Canadian Park & Tilford Distilleries Ltd., consists of eight separate but interconnected areas. The original gardens were designed by Harry J. Webb of Justice & Webb Landscape Architects.

Lynnmour, District of North Vancouver, British Columbia, Canada

Brazoria County Texas.

The Columbia Bottomlands is a unique forested community occurring in the interconnected floodplains of the Brazos, San Bernard, and Colorado Rivers where they approach the Gulf of Mexico. It is so named because Stephen F. Austin established his first colony here, which would become the first “capitol” of Texas. It was known as East Columbia. This influential figure in Texas history also lends the region another name: Austin’s Woods. Prior to anglo settlement these woods were home to the Karankawa and Tonkawa Peoples.

The forest here supports a diversity of oaks, which are the primary overstory species in most areas. Perhaps the most iconic characteristic species is the Coastal Live Oak, which can reach truly massive proportions here. They occur alongside Water Oak, Willow Oak, Shumard Oak, and Nuttall Oak. Burr Oak occurs sporadically. These oaks share the overstory with Cedar Elm, American Elm, Sugarberry, and Green Ash. In some areas stands of large Eastern Redcedar can be found, growing in areas much wetter than their typical preferred habitat. The understory is typically open, influenced by the presence of standing water and saturated soils through much of the year. In some areas dense layers of dwarf palmetto form nearly impenetrable thickets, and there are curious trunked palms present in isolated patches. Historic accounts indicate that vast “canebrakes” or Giant Cane thickets were once present. These conditions combine to create a primeval forest that appears out of place among the surrounding prairies.

This scene requires no explanation ... the only thing I'll say is that it was a good example of a pattern that I did see repeated, over and over again.

Note: I chose this as my "photo of the day" for Oct 27, 2015.

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As I’ve mentioned in a couple of recent Tumblr blog postings, I’m working on an exercise for a new class that I’ve started taking at the International Center of Photography (ICP) in the fall of 2015.( You can see the earlier Tumblr postings here and here.)

In addition to taking a bunch of photos (see the other Tumblr postings for details and descriptions of what the photos are supposed to illustrate), we also have the task of editing our images down to a maximum of 10 “presentation images” that we will share with the ICP class next week. When our instructor, Joanne Dugan, asked me last week if I anticipated having any problems with this aspect of the assignment, I shrugged and said, “No, I do this all the time …”

Well, yes and no: I do do a lot of editing/winnowing of my photos before deciding which ones should be shared with anyone else. But I had forgotten that I also do a lot of cropping, color-adjustment, tweaking, and general post-processing before I upload my photos to Flickr, Facebook, or even Instagram. For this particular ICP exercise, we were also told not to crop the photos, and not to do any post-processing. That makes things a lot more difficult …

On the other hand, part of the exercise is to assemble and share a maximum of ten photos that collectively tell a “story” of some kind – and to “tell” that story with anywhere from a word, to a sentence, to a paragraph for each of the photos. That makes things a lot easier … after all, if a photo has to be presented in isolation, then it truly stands alone. And it is intended to be viewed without any accompanying text, then it really stands alone. There’s nothing wrong with that; indeed, one might argue that that’s the whole point of photography: a picture should “tell” a story all by itself, without any extraneous verbiage to “explain” what might not be obvious to the viewer.

But not very many things exist in complete isolation of the rest of the universe, especially in today’s interconnected world. I suppose some people would debate that point quite vigorously; and some people might argue that a photograph of a person, place, or thing should be able to “stand alone” without anything else. I certainly have seen photos that fall into this category, and I suppose I’ve taken a few like that, too. Or, maybe if I never intended my photos to be considered in complete isolation from one another, perhaps that’s how some people prefer to look at them …

But for me, that’s a pretty rare phenomenon. Almost always, I find myself telling a story. The photographs obviously present one “dimension” of the story, in a visual form; and I’ve been trying to remind myself lately that videos can present can present one, and sometimes two, additional dimensions (motion and sound) that can add enormously to the viewer’s understanding and appreciation of the underlying story.

But even if one uses only traditional photos, I find that it’s almost impossible for me to crate (or make, or take) one photo by itself; invariably, I take dozens, if not hundreds or even thousands, which collectively tell a story. It may be a story about someplace I’ve been, or some event in which I’ve participated, or some individual (or group of individuals) that I want the viewer to know and appreciate in more detail than would be possible to communicate in a single photo.

And then there are the words … maybe it’s because I spend part of my time as a writer and teacher that I find it almost impossible not to augment my photos with words. Lots of words. Indeed, sometimes far too many words; and sometimes clumsy words, or the wrong words. And I do realize that there are times when the situation would be improved if I would just shut up, and let the photograph do all of the communication. But for better or worse, I guess I’m a photojournalist.

With that in mind, I began the process of editing the photos for my recent ICP assignment. Here’s what I found:

1. It’s not as easy as one might think, when you start with a large number. I began winnowing the original images when I had 2,700 (after 9 days of shooting), and I still had 5 days of shooting left).

2. It’s much more difficult than I had imagined, given the constraints of my ICP class: no cropping, no post-processing, and a maximum of only 10 images. I’ve worked within those constraints for the final images that I’m submitting to the ICP class; but for these Flickr uploads, I’ve ended up with 40-45 images – and they have been heavily cropped, tilted, color-corrected, noise-dusted, and tweaked in various other ways. C’est la vie…

3. Using the collection of photos to “tell a story” is both easier and harder than I thought it would be. I’m including these background notes in all of the photos that get uploaded to Flickr … because I’ve learned (form past experience) that some visitor will zoom in on just one particular photo, without necessarily looking at all of them, and/or without seeing the overall notes for the entire album. And I don’t think I’ll find it difficult to write a few sentences to provide the background details for each photo … but whether they “flow” and create one overall, coherent “story” remains to be seen.

4. Aside from a narrative “story,” there are some “themes” that I noticed throughout this entire two-week exercise. The most significant one was exactly what I had anticipated: patterns. If you are lucky enough to sit in the same spot at the same time, day after day, you see the same rhythms, the same people, the same repetitions of life’s little actions and emotions. Many people have the opportunity to see these patterns, because they do follow the same schedule, day after day, on their way to their job or their school. But some of us have irregular routines, and any, most of us don’t pay any attention. If you slow down, and pay attention, you’ll see the patterns.

But sometimes the pattern involves uniqueness – i.e. strange and unusual people or events that seem to happen only once. But I have to keep reminding myself that my visits have lasted only two weeks; if I was here for a month, or a full season, or perhaps an entire year – then perhaps I would see these strange incidents repeating themselves

5. Another theme – which I did not anticipate, but was delighted to see – was the pervasive sense of affection and caring between and among everyone on the street. Mostly it was apparent in the interactions between parents and children; but sometimes it was between dog-owners and the dogs they were walking; sometimes it was between friends who happened to be walking along together; and sometimes it was between complete strangers and me, as the strangers would smile and nod and say “hello” if they noticed I was watching them. It was a great experience.

Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:

Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.

The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.

As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.

Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.

At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.

Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.

Excerpt from Wikipedia:

The Church of Saint Nicholas is a Baroque church in the Lesser Town of Prague. It was built between 1704 and 1755 on the site where formerly a Gothic church from the 13th century stood, which was also dedicated to Saint Nicholas. It has been described as the greatest example of Prague Baroque.

The original Gothic Parish church of Saint Nicholas stood on the site of the present church which dated from the 13th century. In the second half of the 17th century the Jesuits decided to build a new church designed by Giovanni Domenico Orsi. A partial impression of the original planned appearance of the church at the time the Jesuits chose the initial plans by Giovanni Domenico Orsi in 1673 and laid the foundation stone is provided by the Chapel of St Barbara, which was built first so that mass could be celebrated. The church was built in two stages during the 18th century. From 1703 till 1711 the west façade, the choir, the Chapels of St Barbara and St Anne were built.

Count Wenceslaus Kolowrat-Liebsteinsky (1634 - 6 October 1659) from the prominent Czech House of Kolowrat was the largest patron of The Church of St. Nicholas. He donated his entire estate, worth 178,500 gold, for the construction of the church and the adjacent buildings in Prague in Malá Strana.

The new plans involved an intricate geometrical system of interconnected cylinders with a central dome above the transept. The massive nave with side chapels and an undulating vault based on a system of intersecting ellipsoids was apparently built by Christoph Dientzenhofer. The pillars between the wide spans of the arcade supporting the triforium were meant to maximize the dynamic effect of the church. The chancel and its characteristic copper cupola were built in 1737-1752, this time using plans by Christoph's son, Kilian Ignaz Dientzenhofer.

In 1752, after Dientzenhofer's death in 1751, the construction of the church tower was completed. During the years the church continued to expand its interior beauty. Following the abolition of the Jesuit Order by Pope Clement XIV, St Nicholas became the main parish church of the Lesser Town in 1775.

During the communist era the church tower was used as an observatory for State Security since from the tower it was possible to keep watch on the American and Yugoslav embassies respectively and the access route to the West German embassy.

It has been described as "the most impressive example of Prague Baroque" and "without doubt the greatest Baroque church in Prague and the Dientzenhofers' supreme achievement".

On the shield is a sign of the alleged patron of the building Frantisek Karel Count of Kolowrat-Liebsteinsky. The mark of the actual patron Václav Count of Kolowrat-Liebsteinsky on the facade of the temple is not found. He was so humble that he did not want his name to be associated with the building, and after the completion of the building he was used on the front of the coat of arms of his uncle.

The church excels not only in the architecture, but also in the decoration, mainly with the frescos by Jan Lukas Kracker and a fresco inside the 70 m high dome by František Xaver Palko. The interior is further decorated with sculptures by František Ignác Platzer. The Baroque organ has over 4,000 pipes up to six metres in length and was played by Mozart in 1787. Mozart's spectacular masterpiece, Mass in C, was first performed in the Church of Saint Nicholas shortly after his visit.

The 79 m tall belfry is directly connected with the church’s massive dome. The belfry with great panoramic view, was unlike the church completed in Rococo forms in 1751-1756 by Anselmo Lurago.

Taken at Tuggerah Lakes, a wetland system of three interconnected coastal lagoons, are located on the Central Coast of New South Wales, Australia

The CCTV Headquarters Building in Beijing, designed by Rem Koolhaas and Ole Scheeren of the architectural firm OMA, opened in 2012. This iconic structure serves as the headquarters for China Central Television (CCTV), the country’s national television broadcaster. It houses a variety of facilities, including television studios, offices, and media spaces, and is a key symbol of China’s growing influence in the media and global communications.

One of the most unique features of the CCTV Building is its bold, continuous loop design, which consists of two interconnected towers that form an innovative "crane-like" structure. This distinctive design eliminates the need for traditional support columns, allowing for open and flexible interior spaces. The building’s unusual shape, with its large, cantilevered sections and angular geometry, has made it an architectural landmark in Beijing, representing both China’s modernity and its ambition on the global stage.

India, Kerala or Kēraḷam, Backwaters.

Kerala’s from civilization almost untouched rich in fish, fertile unique backwaters.

Water Buffalos;

The water buffalo is a large, up to 3m long & heavy, strong cattle. The head is long, narrow, with small ears & set low on the body. The horns are horizontal & sickle-shaped backwards, these can reach a span of two meters, the horns of the female are significantly narrower & shorter than the males. The water buffalo stands on long, strong legs with wide hooves, the claws are spread wide, so the water buffalo don't sink into their swampy habitat.

📍… The wild water buffalo is listed as an endangered species, estimated about only 1000 water buffalos are still living in Asia.

Grasses, herbs & aquatic plants are the main part of his diet, but also leaves & small branches, he feeds exclusively vegetarian.

If the herd lives near humans, the water buffalo will also eat cultivated grain. Water buffalos are ruminants; searching for food, wild water buffalos they usually go in small groups split off from the main group, only looking for food in the evening hours.

👉….At 7 to 8%, buffalo milk contains almost twice as much fat as cow's milk. It is used to make the real mozzarella cheese in Italy, the "Mozzarella di Bufala campana", while the delicious “Burrata” is mainly made from cow's milk & rarely from water buffalo milk.

All European domestic water buffalos descend from the Asian wild water buffalo. Their domestication probably began 3000 years BC. in China, Pakistan & Iraq. In the 6th century they reached Europe via Bulgaria & Greece.

Today the European water buffalo is mainly found in Italy, Bulgaria, Romania & Hungary.

📌…Kerala’s unique backwaters in South India, is a network of interconnected five large lakes linked by canals, both manmade, fed by 38 rivers & brackish lagoons extending nearly half the length of Kerala state. A labyrinthine system formed by almost 1.000 km of waterways lying parallel to the Arabian Sea coast, known as the “Malabar Coast”.

The backwaters have an exceptional ecosystem; freshwater from the rivers meets the seawater from the Arabian Sea, formed by the action of waves & shore currents creating low barrier islands across the mouths of the many rivers flowing down from the Western Ghats range.

A Thannermukkom Salt Water Barrier, preventing salt water from the sea is entering the deep inside, keeping the fresh water intact. Such fresh water is extensively used for irrigation purposes.

Numerous unique aquatic species including mudskippers, crabs, frogs, water birds such as kingfishers, darters, terns, darters & cormorants, animals like otters & turtles live in the backwaters area. Palm trees, pandanus bushes & other leafy plants grow alongside the backwaters, providing a green shade to the surrounding landscape.

In the middle of this landscape there are a number of towns & cities, which serve as the starting & end points of backwater cruises. The backwaters are one of the noticeable tourist attractions in Kerala.

👉 One World one Dream,

🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over

17 million visits in my photostream with countless motivating comments

© all rights reserved by B℮n

The Netherlands is a small country of 16 million people, but it boasts a quarter of a million competitive speedskaters, and millions more who skate for fun. What's the story? Natural ice in the Netherlands is a rare occurrence. In fact, some winters there's no natural ice at all. Maybe that explains why the Dutch love to skate outdoors. They hardly ever get the chance! But when a cold wave hits, and the interconnected maze of canals, rivers and lakes freeze over, it's a spontaneous celebration, a national holiday. It's been 12 years since there could be ice skating on the Gouwsea. Ice skating can be done from Monnickendam to Marken and from Marken to Volendam. Infinite sea of ice is perfect for ice skating journeys.

Photo taken on the Gouwsea between Marken and Monnickendam. A historical moment since crossing the gouwsea by skates is such a rare occurrence. Crossing this Gouwzee was last possible in 1996. On 9th of January 2009 I skate from Monnickendam to Marken, such a beautiful sea of ice to enjoy.

Op 9 Januari 2009 een lange schaatstocht gemaakt van Amsterdam - Zunderdorp - Broek in Waterland - Monnickendam en over de Gouwzee naar Marken (45km). Tot mijn verbazing was de Gouwzee helemaal dichtbevroren en dit is in geen 12 jaar meer gebeurd. Dus echt een historische ijstocht gemaakt. Een groot ijsoppervlakte tussen Monickendam en Marken met prima ijs. Een oneindig mooi gezicht op deze ijszee anno 2009. Het was genieten. Normaal zijn er ook ijszeilers te zien. Maar vandaag was het voor de ijszeilers ook nog eens wachten op voldoende wind. met spectaculaire snelheden van wel 80 tot 100 kilometer per uur razen ze over bevroren meren en plassen: ijszeilers hebben deze dagen de tijd van hun leven.

Nitmiluk National Park is in the Northern Territory of Australia, 244 km southeast of Darwin, (4 hours or 350 km by road) around a series of gorges on the Katherine River and Edith Falls.

Previously named Katherine Gorge National Park, its northern edge borders Kakadu National Park. The gorges and the surrounding landscape have great ceremonial significance to the local Jawoyn people, who are custodians of Nitmiluk National Park. In Jawoyn, Nitmiluk means "place of the cicada dreaming".

Katherine Gorge, a deep gorge carved through ancient sandstone by the Katherine River, is the central attraction of the park. Katherine Gorge is made up of thirteen gorges, with rapids and falls, and follow the Katherine River, which begins in Kakadu. During the Dry, roughly from April to October, the Katherine Gorge waters are placid in most spots and ideal for swimming and canoeing.

There can be freshwater crocodiles in most parts of the river, as they nest along the banks, but they are generally harmless to humans unless provoked. Saltwater crocodiles regularly enter the river during the wet season, when the water levels are very high, and are subsequently removed and returned to the lower levels at the onset of the dry season. Thus, swimming in the wet season is prohibited.

Cruises of various lengths go as far as the fifth gorge. The gorges can be explored by canoe and flat bottomed boat. In the dry season the gorges become separated as the level of the river falls. They are interconnected in the wet. There is a visitor centre located at the Katherine Gorge, about 30 km east of the town of Katherine.

Freshwater crocodiles are widely distributed along the river year-round. During the wet season, rises in water levels may allow saltwater crocodiles to enter the gorge, where they are caught and relocated to lower levels when the dry season begins.

Birds that can be seen include ospreys, red-tailed black cockatoos, great bowerbirds, white-gaped honeyeaters and red-winged parrots. Part of the Yinberrie Hills Important Bird Area, identified as such by BirdLife International because of its importance for endangered Gouldian finches, lies in the park

The Harley-Davidson Museum is a North American museum near downtown, Milwaukee, Wisconsin celebrating the more than 100-year history of Harley-Davidson motorcycles. The 130,000-square-foot (12,000 m²) three building complex on 20 acres (81,000 m²) along the Menomonee River bank contains more than 450 Harley-Davidson motorcycles and hundreds of thousands of artifacts from the Harley-Davidson Motor Company's 110-year history. The museum attracts an estimated 300,000 visitors annually. The museum opened to the public on July 12, 2008, on a 20 acres (81,000 m²) site in the Menomonee Valley. The museum was built in an historically industrial area of Milwaukee. Prior to Harley-Davidson's purchase of the land from the city, the site was formerly used by the Milwaukee Department of Public Works, Lakeshore Sand Company, and Morton Salt. A 4 feet (1.2 m) layer of imported soil was added to combat the contaminated soil. New vegetation was planted to restore the landscape to its riparian state. In late February 2006, designs for the museum were unveiled. The designs were created by James Biber, a partner at Pentagram, his team, and Michael Zweck-Bonner, an associate at Pentagram. Abbott Miller, a partner at Pentagram, designed the museum's permanent exhibitions. The firm designed the museum over a period of eight years. On June 1, 2006, Harley-Davidson began the construction of the $75 million complex with a groundbreaking ceremony that included legendary Harley-Davidson dirt track motorcycle racer, Scott Parker, breaking ground by doing a burnout with a Harley-Davidson XL883R Sportster, instead of with the traditional golden shovel. The site includes parking spaces for 1,000 motorcycles and 500 cars. The Museum's facade also features a 17-foot (5.2 m)-tall, steel Harley-Davidson sign. The museum’s galleries permanent exhibitions, spread throughout two floors, in addition to temporary exhibits and the motor company’s archives. The complex also includes a restaurant, café, retail shop, and special event spaces. Also on display are historic Harley-Davidson items that tell the company's story and history, such as photographs, posters, advertisements, clothes, trophies, video footage of vintage and contemporary motorcycling, and interactive exhibits, including 10 motorcycles that visitors can sit on.

The Motorcycle Gallery

On the museum’s upper level, a procession of motorcycles is displayed down the center of the main hall, running the length of the building, with galleries on either side.

The Harley-Davidson Journey

Along the east side of the upstairs galleries, a series of interconnected galleries exhibit the Harley-Davidson's chronological history. The galleries relate the company's history from its origins in a 10x15-foot wooden shack to its current status as the top U.S. motorcycle manufacturer, producing more than 330,000 bikes each year. The centerpiece of the gallery is "Serial Number One", the oldest known Harley-Davidson in existence, which is encased in glass. The glass enclosure sits within a floor-embedded, illuminated outline of the backyard shed the motor company was founded in.

The Engine Room

The museum's second floor galleries begin with the Engine Room. A Knucklehead engine is displayed disassembled into several pieces. The Engine Room also features several interactive touch screen elements that show how Harley motors, including Panhead and Shovelhead motors work.

Clubs and Competition

The Clubs and Competition gallery includes displays and information about Harley-Davidson's racing history. The gallery includes a section of a replica wooden board track, suspended in the air at a 45-degree incline. The wooden track features vintage video footage of actual board track races, and attached 1920s-era Harley-Davidson racing motorcycles; the bikes that raced on board tracks at 100 miles -per-hour. Fatalities were common, which led to the banning of wooden board tracks for motorcycle racing.

Tank Gallery

The museum's upper floor exhibits also include the Gas Tank Gallery, formerly part of the Harley-Davidson 100th Anniversary Open Road Tour. The exhibit displays 100 of Harley-Davidson's most memorable tank graphics, spanning 70 years, selected by the company's styling department and reproduced on "Fat Bob" tanks.

Custom Culture

The Custom Culture gallery covers Harley-Davidson's impact on American and global culture. The centerpiece of the Custom Culture Gallery is "King Kong", a 13-foot (4.0 m)-long, two-engine Harley-Davidson motorcycle customized by Felix Predko. The exhibit also features exact replicas of the customized Harley-Davidson bikes ridden by Peter Fonda and Dennis Hopper in the 1969 American movie, "Easy Rider", including Fonda's "Captain America" chopper and Hopper's "Billy Bike". Two of each of the two choppers were created, and one "Captain America" was destroyed in the film's production.

Source: en.wikipedia.org/wiki/Harley-Davidson_Museum

Manufacturer: Citroën S.A., Groupe PSA Peugeot Citroën, Saint-Ouen - France

Type: 2CV6 SPOT

Production time: April 1976 - late 1976

Production outlet: 1,800

Engine: 435cc Citroen A79/1 26.6 CID twin cylinder OHV boxer air-cooled

Power: 24 bhp / 6.750 rpm

Torque: 29.4 Nm / 2.400 rpm

Drivetrain: front wheels

Speed: 102 km/h

Curb weight: 560 kg

Wheelbase: 94.5 inch

Chassis: dual H-frame platform frame and aircraft-style tube framework with unitized (bolted) steel body

Steering: rack & pinion

Gearbox: four-speed manual / dashboard umbrella stick

Clutch: single dry plate disc (centrifugal)

Carburettor: Solex 34PICS4 1-barrel

Fuel tank: 20 liter

Electric system: 12 Volts 25 Ah

Ignition system: distributor and coil

Brakes front: hydraulic inboard drums

Brakes rear: hydraulic drums

Suspension front: independent leading arm with interconnected longitudinal coil springs, transverse cross member (not an anti-roll bar) and friction dampers (frotteur) + inertia shock absorbers (horizontal mounted)

Suspension rear: independent swinging trailing arm, tie rods with transversal coil springs, friction dampers (frotteur) and suspension cylinders at the side + inertia shock absorbers

Differential: spiral-toothed final drive 4.125:1

Wheels: 4J - 15 inch 3 stud steel wheels

Tires: 125-380 R 15 Michelin X radial 4-ply

Special:

- Citroën introduced the 2CV SPOT (“Special Production Orange Ténéré”) on April 10th, 1976, to celebrate a major milestone: it had built five million 2CV and 2CV-based cars since 1948.

- The SPOT, based on the entry-level 2CV4, marked a milestone of its own because it was the first limited-edition model offered by Citroën and, broadly speaking, one of the first limited-edition French cars.

- The SPOT two-tone orange / white colour scene and fitted with chromed hubcaps similar to the ones seen on well-equipped Dyane and Ami 8 models, was designed by Serge Gevin.

- The orange and white theme continued in the cabin, where the door panels were upholstered with two-tone cloth upholstery and the seats were wrapped in orange cloth.

- The dashboard and the steering wheel were both brown, which created a rather odd contrast with the otherwise bright and lively cockpit.

- No options were offered, but the SPOT came standard with the individual front seats that were available at an extra cost on the regular 2CV4.

- The first Series SPOT that were built for the French market, sold out almost immediately.

- The second export Series, available late 1976, had a black steering wheel and brown dashboard, also sold out quickly.

- In Switzerland and Great Britain (RHD) the SPOT was only available as 2CV6, so with the 602cc engine.

- In Switzerland, a unique number is placed on the front door of the SPOT’s.

- Its success encouraged Citroën to launch other limited-edition 2CV's including the France 3, the Dolly and the famed Charleston, to name a few.

- There are about 15 original survivors.

This is Pioneer Place Mall. People spend money here.

I got vertigo on the escalators, and when I reached the top floor, my fear of heights and virtigo melded, and I was totally freaked that I was going to drop my phone off the balcony.

Oh... anyhoo... Pioneer Place is an upscale, urban shopping mall in downtown Portland, Oregon. It consists of four blocks of retail, dining, parking, and an office tower named Pioneer Tower. The mall itself is spread out between four buildings, interconnected by skywalks or underground mall sections.

Fall colors from the Kachina trail in the mountains north of Flagstaff, Arizona.

Leaves in the two adjacent Aspen groves are at different stages of changing color. (Each Aspen grove is one large organism; the individual trees are clones interconnected by their roots. Trees in a single grove all change color at the same time.)

🔵 🚨 Une évidence, et pourtant c’est seulement avec le recul depuis la Station que ça m’a vraiment frappé : il n’y a en fait qu’un seul immense océan interconnecté... même si on le divise en différents noms géographiques par commodité. Et il est tout simplement indispensable à la bonne santé de la planète bleue : c’est à la fois notre thermostat et notre . Pourtant on a tendance à l’oublier quand on parle du changement climatique, alors qu’il le subit de mille manières, et pas seulement à travers la montée du niveau de la mer. Et le comble avec cet oubli fréquent, c’est que l’océan peut justement fournir des solutions pour combattre le changement climatique ! Alors en amont de la COP26, des scientifiques du monde entier unissent leur voix pour témoigner de leurs recherches essentielles en quelques mots et très concrètement. Ce sont eux qu’il faut écouter, et j’espère que mon témoignage depuis l’espace permettra de les mettre en avant. Ecoutons-les… et montrons aux décideurs qu’ils ont notre soutien ! 💪 🌊 ➡️ oneoceanscience.com/ #OneOceanScience

I have always believed it is best to listen to scientists and experts on topics. A unique digital conference is starting today where scientists from all over the oceans propose solutions and present their latest findings in the run up to the United Nations climate change conference. All waters are connected, and from space you can see that no maps do our planet justice: we really are an ocean planet. Oceans form a huge part of our ecosystem. There are 7 people in space right now, 7 billion people on Earth, but many more living organisms in the oceans by far, without them climate change would be worse. To protect it, we must understand it. oneoceanscience.com/ #OneOceanScience

Credits: ESA/NASA

IMG_3340edited (Highest resolution available here on Flickr)

Excerpt from Plitvice-lakes.info:

The group of Plitvice’s Upper Lakes consist of twelve lakes, interconnected and separated by natural travertine and tufa barriers.

Here is a list of all Upper Lakes:

1.Prošćansko

2.Ciginovac

3.Okrugljak

4.Batinovac

5.Veliko jezero

6.Malo jezero

7.Vir

8.Galovac

9.Milino jezero

10.Gradinsko

11.Burgeti

12.Kozjak

The water from the lowest lake in this group (Kozjak) eventually connects with Milanovac, the first lake in Lower Lakes group.

© Dan McCabe

Palouse Falls is the Official Waterfall of the State of Washington. It has a drop of 198 ft. (60 m).

The canyon at the falls is 115 meters (377 feet) deep, exposing a large cross-section of the Columbia River Basalt Group. These falls and the canyon downstream are an important feature of the channeled scablands created by the great Missoula Floods that swept periodically across eastern Washington and across the Columbia River Plateau during the Pleistocene epoch.

The ancestral Palouse River flowed through the currently dry Washtucna Coulee to the Columbia River. The Palouse Falls and surrounding canyons were created when the Missoula Floods overtopped the south valley wall of the ancestral Palouse River, diverting it to the current course to the Snake River by erosion of a new channel.

The area is characterized by interconnected and hanging flood-created coulees, cataracts, plunge pools, kolk created potholes, rock benches, buttes and pinnacles typical of scablands.

[Source: wikipedia.org]

This is an alternate crop, a different orientation, and rendered in B&W. I generally hate to show almost identical photos, especially next to each other.

Am I more satisfied with this variant? Maybe. I'd appreciate any comments you might have on that. Which do you like better?

20170530: I made a minor edit to the crop (capturing some of the plateau above the canyon) and the tonality, but basically, it's the same as before.

Manufacturer: Citroën S.A., Groupe PSA Peugeot Citroën, Saint-Ouen - France

Type: AYB-AM Dyane 6 Commerciale

Production time: October 1968 - Februari 1970

Production outlet: 193,817

Production time: 1967 - 1983 (all types)

Production outlet: 1,036,644

Engine: 602cc M28/1 flat-twin boxer / air cooled

Power: 33 bhp / 5.750 rpm

Torque: 42 Nm / 3.500 rpm

Drivetrain: front wheels

Speed: 114 km/h

Curb weight: 603 kg

Wheelbase: 94.5 inch

Chassis: dual H-frame platform chassis and aircraft-style tube framework with unitized (bolted) steel body

Steering: rack & pinion

Gearbox: four-speed manual / all synchronized / dash umbrella shift

Clutch: single dry plate disc

Carburettor: Solex 34 PICS4 / Solex 26/35 CSIC

Fuel tank: 25 liter

Electric system: 12 Volts 30 Ah

Ignition system: distributor and coil

Brakes front: hydraulic drums

Brakes rear: hydraulic drums

Suspension front: independent leading arm with interconnected longitudinal coil springs, transverse cross member (not an anti-roll bar) and friction dampers (frotteur) + inertia shock absorbers

Suspension rear: independent swinging trailing arm, tie rods with transversal coil springs, friction dampers (frotteur) and suspension cylinders at the side + inertia shock absorbers

Differential: spiral-toothed final drive 3,875:1

Wheels: 15 inch 3 stud steel wheels

Tires: 135 - 380 Michelin Pilote

Options: *Trafficlutch, radio

Special:

- The name “Dyane” comes from the archives of Panhard. That was in addition to the brand Dyna, and Dynamic Dynavia also deposited Dyane. And since Citroën owned Panhard, yet that was settled quickly.

- The Dyane was included in the Citroën program as "the 2CV of the future", but hasn't been able to "perform" this. The 2CV survived its "beautiful" brother.

- Louis Bionier of the Bureau d'études de Panhard et Levassor designed the Dyane (project AY), because Citroëns own design department was too busy.

- The were not happy with the first design, so Jacques Charreton re-designed it "in house" the front and the rear. De dashboard was designed by Henry Dargent.

- The originally designed square headlights proved to be too expensive, so it became headlights surrounded by square trim rings.

- The standard sliding roof could only halfway open, but the big boot made it possible to transport large objects.

- The Dyane and a panel van version called Acadiane were built in Levallois-Perret, Rennes-La Janais (France), Vigo (Spain), Forest (Belgium), Mangualde (Portugal) and by Saipa Motor Corporation (SAIPA), Tehran (Iran).

* The cenrtifugal clutch (“Trafficlutch”) is designed for city use. You can drive off in 1st or 2nd gear. It is now driving like an automatic transmission.

Plaça d'Europa (official name in Catalan, in Spanish: Plaza de Europa) is a square in the District VII of L'Hospitalet de Llobregat suburb of Barcelona, Catalonia in Spain. Located on the Granvia de l'Hospitalet avenue at the intersection with Carrer d'Amadeu Torner. It is part of L'Hospitalet's recent urban development, and one of its biggest squares at 33 ha, with a distinguishable skyline made up of high-rises, among the tallest structures in the city, some of which are designed by the renowned architect Toyo Ito. It is expected to become its economic centre, and will allow different parts of the city formerly severed by the Granvia to become interconnected.