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

Masouleh is a small mountain village in Caspian Iran. Masouleh architecture is unique. The buildings have been built into the mountain and are interconnected. Courtyards and roofs both serve as pedestrian areas similar to streets. Masouleh does not allow any motor vehicles to enter, due to its unique layout. It is the only village in Iran with such a prohibition. However, the small streets and many stairs simply also wouldn't make it possible for vehicles to enter.The spectacular architecture of Masouleh is well-known as "The yard of the above building is the roof of the below building".Yellow clay coats the exterior of most buildings in Masouleh. This allows for better visibility in the fog.

Wow... I... I don't know where to start....

This was a beautiful film. I can't think of any other way to say it. James Mangold has written a story that was incredibly moving and well thought out. There was a very clear direction to be taken for The Wolverine's final film, and he nailed it on the head.

This movie hit extremely close to home for me. This story of a generational gap between Father, Son, and Child is something that's not commonly addressed in everyday film or TV, even more so in the Superhero Genre.

I'm absolutely floored by how well this movie respected it's predecessors, while still maintaining a sense of individuality. LOGAN was the perfect way to finally end the X-Men saga that started with Jackman and Stewart so long ago. In a way, this whole film was comprised of many little things that interconnected and left plenty of room for story, with little to no need for unnecessary exposition. I'm really proud at how intelligent the audience was expected to be.

Something that really struck a chord with me though, was the dynamic developed among Charles, Logan, and Laura. Particularly how strong the desire Xaiver has to teach Laura about the beauties of the world, and wanting to provide a positive outlook on life, while simultaneously having a pessimistic father figure like Logan. I see myself in X23's position. In fact I see myself in all three of these characters, which is a rarity for me. I understood the confusions that X23 had about civility and manners and why things are the way things are. I felt pain and depression for Charles, just wanting what's best for the people around him because of his own past mistakes and pains. I especially felt empathy for Logan. Being the only one (barely) capable to keep the “family” together. Having a sort of weight bared down from the past wrongs in his life, while struggling to find peace.

Which inevitably he does.

Or that's how I'd like to see it.

It's strange. Because it's a sad ending... but it's a happy one too. There's a sense of accomplishment and pride, making it through this journey with him. Like... it's been seventeen years since we first met this guy (for me anyway), and we've gone though all these hardships with him, the good (X2, DOFP) and the bad (Origins, X3, etc). And Logan's finally found a belonging and purpose. He loved.... and I think he finally saw that.

Part of me is glad that it's over. Part of me is somber for what's to come and what has been.

I don't know if that was the goal for this film but that's what I walked away with.

I'm also really proud at how well this handled people struggling with PTSD, Suicide, and Mental Illness. LOGAN particularly shows us that despite our failings and our minds breaking down as we get older, there's always someone (even if it's only just one person) standing there willing to hold out a hand.

Charles burial was very moving for me. People deal with grief in many different ways, and Hugh Jackman held an incredible performance showing how a person struggling with Post Traumatic Stress Disorder would handle a loss. They go down fighting. They're angry and scared and they don't want to admit their pain.

My own father has had episodes like this. ...I've had episodes like this.

And speaking from experience, having someone to care for you after event's like this is hard. Excepting help from people who care about you is really really hard....

And I know that even though this is just a movie, it gives me a sense of outward perspective on times like this in my own life. It's a good slap in the face like “Hey! Stop it! Your life isn't nearly as bad as Wolverine's!”

In a way, I needed a movie like this.

There's been a lot of talk about how this R rating was gonna hurt the film. I feel that the intelligence and depth at it's core needed a rating like this. I don't think this film could've held the same kind of impact that it did. You couldn't have moments like Logan's episode be as raw as they were without the cursing, so to speak.

Additionally there wasn't the need for hand-holding or overbearing narratives. You couldn't get the film you did if you constantly had to remind the audience that they're in The Future or have to show flashbacks to the Weapon X Program in the 80's. You could have a single line of dialogue for a plot point and be done with it. Anything else additionally can be used in an art form or an emotional/story derivative, which is exactly what happened! It was perfect!

Hell, the mere concept that you can create a dialogue heavy, three act, genre breaking, piece of art blows my mind!

And it was under the 20th Century Fox Banner?! Crazy! :P

I mean, what more is there to say? The cinematography was fantastic! The setting of midwestern farmlands and North Dakota forests, and the colors! Oh man what a great rustic palette!

The story was perfect for a concept like this. A bit on the nose at times, but the motivation was very clear cut and gave plenty of opportunity to expand on character. It was like reading a book, and I loved it! It wasn't some “blue light into the sky” BS, it was a real story! With real characters and real settings and just... wow! :)

I'm speechless!

James Mangold, you will forever have my heart.

***

Patreon's got an extensive look at the build, including some things out of frame and focus, plus some lighting tips, and an extra Patreon Exclusive photo, only seen there :)

P.S. In the month of Feburary my Patreon had 16 posts uploaded, where as Flickr only got 3... sayin' just sayin'...

___________________________________________

What did you think of that scene where Logan donned his alter-ego Patch? What a crazy Easter Egg Top Ten Things You May Have Missed Reaction Spoiler am'I'rite?!

Visit my Patreon to see early photography, behind the scenes images, and WIPs of upcoming projects, and we'll talk all about John Byrne!

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Little Moreton Hall (NT),

NATIONAL TRUST and ENGLISH HERITAGE PROPERTIES ALBUM

www.flickr.com/photos/45676495@N05/albums/72157701116949872

Little Moreton Hall is a moated is a half-timbered manor house 4.5 miles (7.2 km) southwest of Congleton in Cheshire. The earliest parts of the house were built for the prosperous Cheshire landowner William Moreton in about 1504–08, and the remainder was constructed in stages by successive generations of the family until about 1610. The building is highly irregular, with three asymmetrical ranges forming a small, rectangular cobbled courtyard. The house's top-heavy appearance, is due to the Long Gallery that runs the length of the south range's upper floor. The house remained in the possession of the Moreton family for almost 450 years, until ownership was transferred to the National Trust in 1938 s a designated Grade I listed building

Little Moreton Hall first appears in the historical record in 1271, but the present building dates from the early 16th century, the earliest part of the house dates from 1504 and 1508 for William Moreton (died 1526), it comprises the Great Hall and the northern part of the east wing. The east range was extended to the south in about 1508 to provide additional living quarters, as well as housing the Chapel and the Withdrawing Room. In 1546 William Moreton's son, also called William (c. 1510–63), replaced the original west wing with a new range housing service rooms on the ground floor as well as a porch, gallery, and three interconnected rooms on the first floor, In 1559 William had a new floor inserted at gallery level in the Great Hall, he south wing was added in about 1560–62 by William Moreton II's son John (1541–98) It includes the Gatehouse and a third storey containing a 68-foot (21 m) Long Gallery.

The house stands on an island surrounded by a 33-foot (10 m) wide moat,] which was probably dug in the 13th or 14th century to enclose an earlier building on the site.

The fact that the House still stands defies logic. Running the entire length of the south range the Long Gallery is roofed with heavy gritstone slabs,[58] the weight of which has caused the supporting floors below to bow and buckle. the wide floorboards rising up and down like waves and the walls leaning outwards at different angles. he crossbeams between the arch-braced roof trusses were probably added in the 17th century to prevent the structure from "bursting apart" under the load.

Diolch am 73,833,230 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.

Thanks for 73,833,230 amazing views, every one is greatly appreciated.

Shot 06.05.2019 at Little Moreton Hall, Congleton Ref 141-507

.

The final photo from my travel to Plitvice lakes. If you haven't been here: GO! 16 terraced azure lakes, interconnected by literally thousands of waterfalls and cascades, in the midst of a mountainous, enchanted forest. The park is surrounded by small villages with an abundance of B&B:s and restaurants.

I know why I think. It's due to a natural cycle. The ocean currents are affected and they effect the jet streams which control the weather patterns. The storm which used to come ashore over British Columbia are now doing so further south over Oregon and northern California. This because the northern jets are now further south than before. That does not mean that they won't pull artic air to the south. They will, it just depends on how the other jet streams and ocean currents are acting at that moment. It is all interconnected.

Here's a nice little view of the terminal moraine of one arm of the mighty Kaskawulsh Glacier and origin of Slim's River, which spends itself in Kluane Lake. This is an approach to the vast interconnected icefields of the Wrangell / St. Elias Icefields, ... the third largest glaciated area remaining on Earth ... The world's largest non-Polar icefield, and the reservoir of some 20 percent of the world's fresh water, outside of Greenland and Antarctica.

Shot from the window of a 3 seater Helio Courier Aeroplane we chartered from Kluane Lake to Mt. Logan.

Viewers charitable enough to visit this humble flickrstream semi-regularly will become bored to death with rivers of Glacial ice and seas of icefield vastness in coming weeks, as I post a surplus of photos taken on this (for us) mind-blowing trip.

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

Excerpt from ontariotrails.on.ca:

Terra Cotta Lane is a great way to introduce yourself to this conservation area and is a major access route to some of our other trails. Starting near the parking area, the trail follows an old road along the eastern shore of a pond and eventually loops back to the parking area. Although this trail is a loop, there are a number of one- way arms that allow you access to the Vaughn and McGregor Spring Pond trails. This easy trail is good for nature enthusiasts of all ages. At Terra Cotta, we have created a network of interconnected hiking trails, footpaths and old roadways that will take you to different parts of the conservation area where you can experience a mosaic of natural and cultural settings.

© 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 went ice skating on the Ankeveense Plassen.

The Ankeveense Plassen 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 Dutch people on the lakes of Ankeveen. A first time skating in 2017 is such a rare occurrence. Two speedskaters, father and daughter enjoying the good ice. Father carring a rope just in case of falling through the ice. Safety first.

Schaatsen op natuurijs is het leukste wat er is. Warm inpakken, muts op, handschoenen, schaatsen geslepen, slee mee en gaan. Helaas is het in Nederland niet zo vaak zo koud dat we echt kunnen schaatsen. Veel mensen grijpen vandaag nog even de kans om te schaatsen. Ondanks de waarschuwingen van schaatsbond KNSB om weg te blijven van meren, sloten en kanalen. Het ijs is op veel plekken niet dik genoeg. Daar lieten veel schaatsliefhebbers zich dus niet door weerhouden.. Op 26 januari 2017 verzamelden meerdere mensen op de Ankeveense plassen in de gemeente Wijdemeren. Dat is de plek waar het ijs het sterkst was. Vaak wordt er aangehouden dat het ijs een centimeter of 10 dik moet zijn om veilig op te kunnen schaatsen, en het ijs op de Ankeveense plassen is op het dikste gedeelte maar een centimeter of vijf dik, maar dat weerhield tientallen mensen er niet van om toch even het ijs op te gaan. In Ankeveen was de meest gehoorde reactie: “het is dun, maar het kan wel…”. En dat leverde mooie plaatjes op. Mensen van alle leeftijden op schaatsen, kinderen die een buikschuiver willen maken, mensen die voorzichtig even willen voelen hoe het is om op het ijs te staan. De aantrekkingskracht van het ijs is enorm. Opvallend veel Amsterdammers zoeken hun toevlucht in Ankeveen. ,,Hier kan het al, bij ons op de grachten nog lang niet”, grijnst een meneer. ,,Het is windstil, lekker zonnetje, het is ijs is goed. Wat wil je nog meer?” ,,Natuurlijk kan je door het ijs zakken, maar het leven is niet zonder risico's. Je kan ook onder een auto komen, of er kan een vliegtuig op je huis neerstorten.”

India, Kerala or Kēraḷam, Backwaters.

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

📌….A great way to explore the “Kerala Backwaters” is by taking a tour with a “Kettuvallam”, a motorized houseboat, converted from a former barge, which was designed & constructed to be mainly used in the backwaters of Kerala, that were previously used to transport goods, rice, spices etc.

The size of a kettuvallam varies, but is typically around 30 m long & 4 m wide in the middle. It is made primarily from the wood of the Aanjilis tree, a tree in the jackfruit family, also bamboo is used. The frames & planks are connected with coconut or other palm fiber cords. Characteristic of a kettuvallam is the fact that not a single nail is used for the entire boat construction.

These days kettuvallam is mainly for tourist purposes, there are currently about a thousand of these houseboats, sounds like a lot, but they get lost in the huge backwater area, it also depends on the season. The regional government has stopped the construction of additional houseboats, only if a new boat will replace an old one, a permission will be extended.

There are simple Kettuvallam, with one apartment up to duplex with 10 apartments, swimming pool etc, with a fife star hotel luxury. Travel can be rented from one day/night flexible up to 10 days, longer by arrangement.

Since I lived in India for a few years, when I had to fly down on business to Kovalam & it was possible to take a few days of I/we used the opportunity at a suitable time to discover something new every time. Above all, I was able to get in touch with a fisherman who paddled with us through the small canals & also showed corners of the tourist track, including those where the sun went down like in a movie, places which you don't see otherwise as a tourist.

📍 ….The unique backwaters are 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”.

👉 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

Interconnected in the Blue Nowhere and Beyond...

Three photos of bedrooms at Packwood, all of them tester beds with curtains which would have been essential to keep the draughts out in the past, as well as preserving some privacy, although at Packwood each of the bedchambers is off the corridor rather than in an interconnected row as they were in medieval times. This one is old enough to have the mattress on top of ropes strung across the base, tightened with 'bugs', hence the saying "Don't let the bed bugs bite".

Excerpt from ontariotrails.on.ca:

Terra Cotta Lane is a great way to introduce yourself to this conservation area and is a major access route to some of our other trails. Starting near the parking area, the trail follows an old road along the eastern shore of a pond and eventually loops back to the parking area. Although this trail is a loop, there are a number of one- way arms that allow you access to the Vaughn and McGregor Spring Pond trails. This easy trail is good for nature enthusiasts of all ages. At Terra Cotta, we have created a network of interconnected hiking trails, footpaths and old roadways that will take you to different parts of the conservation area where you can experience a mosaic of natural and cultural settings.

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

119 hustles west through remote Missanabie crossing the Dog Lake Narrows, part of the system of countless interconnected lakes in the central Algoma District famous for its fishing. Heritage unit 7015 brings up the tail end of the daily "inter-mix" from Montreal to Edmonton running extremely late on this fall afternoon - MP 57 White River Subdivision.

"Things derive their being and nature by mutual dependence and are nothing in themselves."

- Nagarjuna

"Omnia vivunt, omnia inter se conexa.

Everything is alive; everything is interconnected."

- Cicero

Thanks a lot for your visits, comments, awards and faves, my friends. Have a wonderful week, everyone...!

Best seen on black - press L or click on image above

In oh so many ways, I do believe, we are all connected to each other

Many Many thanks as always for all your support!

See the connections by Viewing On Black

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.

So yeah I know, I am late with this upload, but this is my take on the Forever Bicycles exhibition from this year's Nuit Blanche.

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World-renowned Chinese artist and activist Ai Weiwei had a new edition of his Forever Bicycles sculpture in Toronto's Nathan Phillips Square. 3,144 interconnected bicycles will form a three-dimensional structure creating an incredible visual effect. Yong Jiu, literally translated as "forever", is the foremost bicycle brand in China; Ai re-interprets such everyday found objects in an abstract and symbolic way. The sheer quantity of bikes and the diverse perceptions of viewing points create a colossal labyrinth-like, visually moving space, which represents the changing social environment in China and around the globe.

Insects possess segmented bodies supported by an exoskeleton, a hard outer covering made mostly of chitin. The segments of the body are organized into three distinctive but interconnected units, or tagmata; a head, a thorax, and an abdomen. The head supports a pair of sensory antennae, a pair of compound eyes, one to three simple eyes ("ocelli") and three sets of variously modified appendages that form the mouthparts. The thorax has six segmented legs (one pair each for the prothorax, mesothorax and the metathorax segments making up the thorax) and two or four wings (if present in the species). The abdomen (made up of eleven segments some of which may be reduced or fused) has most of the digestive, respiratory, excretory and reproductive internal structures.

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What does the name 1.26 mean?

“With this work, I wanted to show that we are all interconnected. I was inspired by the impact of seismic shocks on the entire planet,” Ms. Echelman explains. “The title is a reference to the effects of the earthquake in Chile in 2010, which shortened the length of the day by 1.26 microseconds. The shape and motion of the net refer to the height of the tsunami waves caused by the quake. The forces of nature influence all my work,” she added.

More info here:

www.quartierdesspectacles.com/en/blog/609/8-fascinating-f...

This was an example of a pattern that was both typical and unexpected: tight stretch pants, a bright stretchy t-shirt ... and high-heel shoes? There may be some straightforward explanation for this dress style, but it wasn't obvious.

While almost everyone walking past had a simple, straightforward combination of pants/dress, shirt/sweatshirt, jacket, and shoes -- there was also a "pattern" consisting of a number of odd exceptions. Strange hats (sometimes tinfoil), strange shoes, strange pants ... all kinds of strange things. It makes you wonder whether people actually pay any attention to the clothes that they throw onto themselves, or whether it's a deliberate attempt to gain attention on the street.

**********************

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.

Lake Jasna is the name of two interconnected artificial lakes located near Kranjska Gora along the road to the Vršič Pass in Slovenia. Image generated with Midjourney AI. Post-processing enhancements of this image were made with Topaz Photo AI, Snapseed, and Photoshop Elements 24.

Press "L" to enlarge image for greater detail.

This, too, was a common pattern -- and one that I saw repeated over and over again, especially on this corner. It's hard to tell whether the adult is a man or a woman, and it's impossible to tell anything about the child that he/she is hugging. But it's safe to assume that it's a parent, and it's reasonably safe to assume that the child is on her way to school somewhere in the neighborhood.

As it turns out, there are several school buses that stop briefly at the corner where I was sitting -- so perhaps the girl was waiting for such a bus. There's a public bus-stop, too, but it's on the other side of the street (where you can see a NYC bus that has stopped momentarily), so you wouldn't expect the parent-child hug/farewell to be taking place right here.

What did happen, on several occasions, was that a parent would say goodbye on this particular corner, and then continue heading south to the 96th Street IRT subway station. Meanwhile, the child would turn left, and start walking up the hill toward Amsterdam Avenue, where there happens to be a school. (And there were also some occasions when a spouse, with a baby in a stroller, would turn around at this spot, and start heading back north on Broadway.)

**********************

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.

God’s words | "God Himself, the Unique VII" (Part 3) - " God Is the Source of Life for All Things (I) "

Introduction

Almighty God says, "God made all things interconnected, mutually intertwined, and interdependent. He used this method and these rules to maintain the survival and existence of all things and in this way mankind has lived quietly and peacefully and has grown and multiplied from one generation to the next in this living environment up to the present day. God balances the natural environment to ensure mankind's survival. If God's regulation and control were not in place, no man could maintain and balance the environment, even if it was created by God in the first place—this still can't ensure mankind's survival. So you can see that God handles it all perfectly!" (The Word Appears in the Flesh).

Image Source: The Church of Almighty God

Terms of Use: en.godfootsteps.org/disclaimer.html

Implanted with a microchip—part of the data ecosystem. Join the AI data revolution. Connect to the Smart World, the new world (order) of data—an interconnected AI-driven data chain. Your implant will be a data-producing smart device, which will systematically extract information. You will be hypnotized. You will be mesmerized. With your applied mathematics of multidimensional persistence you will chant these numeric invariants of encoded information: 666 the name of the Beast. Jump into the matrix—the data matrix of numbers, symbols, and expressions. Can you solve the mathematical equation of the Beast? Start data mining the Scriptures and you will see into the future. Artificial intelligence, machine learning, can your computer solve the riddle: calculate the number of the Beast and tell me his name? Will you take his Mark, will you serve him? Will you plug yourself in—into the Beast system? Will you worship the Beast—Satan’s seed?

It was common to see dogs and their owners on the street, but this scene was actually fairly unique: a muzzled dog, who seemed to be patiently enduring the contraption that had been stuck on his face.

I have no idea what kind of dog this is, or whether he was prone to bite anyone within reach; it might have been something as simple as preventing the mutt from barking too loudly. In any case, both dog and owner seemed to be strolling along without any great drama.

**********************

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.

Die Heckmann-Höfe sind drei miteinander verbundene Höfe in der Spandauer Vorstadt im Bezirk Mitte.

Im Jahr 1858 ließ ein Holzhändler einen Stall, einen Schuppen zur Lagerung seiner Waren sowie einige Wohngebäude errichten.

1905 baute der Industrielle Heckmann die Wohnhäuser zu Büros, Unternehmen und Geschäften um.

Nach der Wiedervereinigung wurden die Höfe, die sich im Ostsektor befanden, wieder zu dem Ort der Begegnung und des Austauschs, den sie einst verkörperten.

Les Heckmann-Höfe sont trois cours reliées les une aux autres à Spandauer Vorstadt dans le quartier de Mitte.

En 1858, un marchand de bois fait construire une étable, un hangar pour stocker sa marchandise ainsi que quelques bâtiments résidentiels.

En 1905, l'industriel Heckmann transforme les habitations en bureaux, entreprises et boutiques.

Se trouvant dans le secteur est, à la réunification, les cours redeviennent alors le lieu de rencontres et d’échanges qu’elles incarnaient.

The Heckmann-Höfe are three interconnected courtyards in the Spandauer Vorstadt district of Mitte.

In 1858, a timber merchant built a stable, a shed to store his goods and several residential buildings.

In 1905, industrialist Heckmann converted the dwellings into offices, businesses and stores.

As the courtyards were located in the eastern part of the town, they once again became the meeting places they once were.

Berlin. Brandenburg. Deutschland.

(Explore 2019 Apr 28, # 307)

Über ein steile Stiegen-Ǵasse sind Stift und Stadtzentrum von Melk miteinander verbunden.

Via a steep stairway lane are abbey and city of Melk interconnected.

Location: MEOW WOLF: House of Eternal Return, Santa Fe, Santa Fe County, New Mexico, United States of America.

MEOW WOLF is an interactive thematic recreational local art exhibition. Though that perhaps is not most digestible form to describe MEOW WOLF. MEOW WOLF is a complication of pieces art made into a single interconnected interactable world. In practice, it is a maze where you can explore different paths tied by a story. The exhibition itself is called the House of Eternal Return. Although I had little time, it was nevertheless a fun experience that encourages exploration and interaction within an interactive world.

Ubicación: MEOW WOLF: Casa de Volver Eterno, Santa Fe, Condado Santa Fe, Nuevo México, Estados Unidos de América.

MEOW WOLF es una exhibición de arte local y recreación. “Exhibición” quizás no es la mejor manera para describir MEOW WOLF porque el arte local se usa para hacer un mundo conectado. La exploraración es comparable a un laberinto interactivo donde sus pasos lo llevan a ver mas arte y un narrativo contextualizando porque todo el arte le pertenece valor al mundo que estas explorando. La exhibición se llama la “Casa de Volver Eterno” [House of Eternal Return]. Aunque tuve poco tiempo, todavía fue experiencia divertido que te hace querer explorar y interactuar con la exhibición.

For more information visit/Para mas información visita: web.archive.org/web/20190724052914/https://santafe.meowwo...

Adjacent to the river Hamble between Lower Swanwick and Warsash are interconnected marshes and mudflats where the river water flows in and out with the tide. The photograph was taken on a fresh and frosty day with a low side-cast mid morning sun. I liked the contrasts of frost and cold shade against the warmer grasses and sunlit areas. Also the curved line of the tributary bed and wooden posts leading through to the warm sunlit area top right.

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

The Renaissance Center (aka GM Renaissance Center) is a group of seven interconnected skyscrapers in downtown Detroit, on the shore of the Detroit River. The complex is owned by General Motors, which uses it as its world headquarters. The central tower, the Detroit Marriott at the Renaissance Center with its curved glass-clad facade, is the second tallest all-hotel skyscraper in the Western Hemisphere. It has been the tallest building in Michigan since it was erected in 1977. The principal architect was John Portman.

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A night time photo of the 7m diameter 'Floating Earth'' art installation as seen at the Canary Wharf Winter Lights Festival. I saw it last Autumn installed in Southwark Cathedral so seeing it floating on one of the docks made for an interesting contrast, not least as whilst it was tethered it was still bouncing about a bit like a beachball in a swimming pool.

More info and touring dates for Gaia here : my-earth.org/tour-dates/

From the website, "Gaia is a touring artwork by UK artist Luke Jerram. Measuring seven metres in diameter and created from 120dpi detailed NASA imagery of the Earth’s surface* the artwork provides the opportunity to see our planet, floating in three dimensions.

The installation aims to create a sense of the Overview Effect, which was first described by author Frank White in 1987. Common features of the experience for astronauts are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.

The artwork also acts as a mirror to major events in society. In light of the COVID-19 pandemic, the artwork may provide the viewer with a new perspective of our place on the planet; a sense that societies of the Earth are all interconnected and that we have a responsibility toward one another. After the lockdown, there has been a renewed respect for nature."

© D.Godliman

(Pen on paper)

("What goes on inside is just too fast and huge and all interconnected for words to do more than barely sketch the outlines of at most one tiny little part of it at any given moment."

---David Foster Wallace, in his story "Good Old Neon".)

A randomly-edited selection of approximately 700 of my pictures may be viewed by clicking on the link below:

www.flickr.com/groups/psychedelicart/pool/43237970@N00/

Please click here to read my "autobiography":

thewordsofjdyf333.blogspot.com/

And my Flicker "profile" page may be viewed by clicking on this link:

www.flickr.com/people/jdyf333/

My telephone number is: 510-260-9695

Stainless Steel Canopies I helped to fabricate.

I couldn't help wondering who this woman was, where she came from, and where she was going. But I decided it was better not to ask. She was minding her own business, so I minded mine ...

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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.

The best part of the apocalypse so far is that all the kids still want to party. Have you ever spent all day searching the ruins for liquor, getting into gun battles with raiders, zip lining from the 87th floor of a skyscraper across the street just to grab a bottle you spotted in the kitchen, and then at night you blast your music, drink until you can't see or walk straight, pass out when the sun starts to glint off the tallest windows. When I look around at night all I see are college kids looking for a good time that the world robbed them off. Camouflage, body armor, makeup, video games, drugs, and passion made up the nights. Once word started to spread to other small groups of survivors people started to visit looking for the party. Some of the business students decided to start up casinos and run bars instead of just party. Bridges were built from building to building, sometimes rooftop to extravagant apartment, but all one interconnected town where people could come and blow off some steam. The neon glowed at night after the sun baked the concrete, and the night lived once more in a dead world.

~I'm a fan of the lando's randos figs brickmania released a few weeks ago. I thought it was a fun concept and hope to see it happen again

Hola!

What's good people?

I am back and I have some fresh scans to share with you. It's been almost three months since I last posted here.

And although I never really stopped shooting, there were times that I had to prioritize other financial obligations over my practice, and was struggling to keep up with the whole workflow from exposure to scanning and or printing.

For example, I would either afford just shooting, just scanning or just printing, but not all together in a coherent process. This in turn creates a backlash of other problems in my workflow, such as the build up of undeveloped film and me not being able to see my work regularly and reflect.

Honestly, I don't like being unable to afford to shoot, develop and scan film, it creates a gap in my practice and makes me feel cold with the craft.

I also don't like not being able to see what I am shooting as often as possible, as I am unable to reflect, thus creating inconsistencies with my learning curve.

I have noticed that I kind of like having a consistent practice routine and being able to see the progress. It's a constant flow, one thing feeds another and they are all interconnected. Writing feeds thinking, thinking feeds seeing, seeing feeds shooting, shooting feeds printing and so forth and so forth. Sometimes, when this flow is interfered, I might also be affected mentally and come out of balance.

This is because photography is not just a passion for me but a way to ground myself daily and be more present. It helps me a lot to get out of my head and experience everything around me in the flesh and not from the window of my fish tank. It forces me to become more aware of my surroundings which then helps my ability to control, maintain and direct my focus. Something I struggle to do a lot of times.

****Keep on reading on the next photo post****

To be continued..

Dev & Scanned by @comethroughlab

Punta Gorda Isles in southwestern Florida consists of a large network of interconnected canals with houses and boats along its seawalls. This shot was rendered in high key while darkening contrasts.

_MG_7838

© Stephen L. Frazier - All of my images are protected by copyright and may not be copied, printed, distributed or used on any site, blog, or forum without expressed permission.

Looking for Steve Frazier's main photography website? Visit stevefrazierphotography.com

Contact Steve at stevefrazierphotography@gmail.com

Absoluut fantastisch Lichtfestival Gent 2024

De tram als verbinding.

De tram, een oud maar ook eigentijds vervoersmiddel, zit boordevol symboliek. Je kan het zien als een koppelteken ('Hyphen'), een verbinding tussen plaatsen in de stad. Het vergemakkelijkt ontmoetingen en nodigt uit tot mijmeren over het stedelijke landschap. De tram aan Dok Noord, wordt door kunstenaar Charles Pétillon een golvende lijn van pulserende ballonnen en symboliseert hoe we allemaal verbonden zijn met elkaar.

Bron & meer info: lichtfestival.stad.gent/nl/kunstwerken/hyphen

&

www.charlespetillon.com/

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Absolutely superb Light festival Ghent 2024

The tram as connection.

The tram, an old yet contemporary means of transport, is full of symbolism. You can think of it as a 'Hyphen', a connection between places in the city. It facilitates meetings and invites you to daydream about the urban landscape. Through artist Charles Pétillon, the tram at Dok Noord becomes a wavy line of pulsating balloons and symbolises how we are all interconnected.

Source & more info: lichtfestival.stad.gent/en/artworks/hyphen

&

www.charlespetillon.com/

Just a fence made up of knitted, woven, or knotted, an interwoven or intertwined metal or an interconnected network.

Perhaps it is jewelry to some with the arrangement of interlocking metal links or wires with evenly spaced, uniform small openings between.

Well, it is Friday and ‘Friday’ is for Fence Friday and, of course, the start of the weekend, what every you are doing have a good one.

Why not intertwined at the weekend and like my pages on Facebook or Google or pop other to my site John Woracker

The navigli were a system of navigable and interconnected canals around Milan, Italy.

The system consisted of five canals: Naviglio Grande, Naviglio Pavese, Naviglio Martesana, Naviglio di Paderno, Naviglio di Bereguardo. The first three were connected through Milan via the Fossa Interna, also known as the Inner Ring. The urban section of the Naviglio Martesana was covered over at the beginning of the 1930s, together with the entire Inner Ring, thus sounding the death knell for the north-eastern canals. Commercial carrying continued on the Naviglio Grande, but the decline was steady and by the 1960s a project of a fluvial port to reach the Po River and consequentially the Adriatic Sea through the canals was shelved for good.

Ngwe Saung beach is situated near Yangon city and it can be reached within a 5-hour drive from Yangon. The beach itself is approximately 9 miles long and one of the longest beach in South East Asia and newly opened beach in Ayeyarwaddy delta region interconnected with the Andaman Sea. Moreover, Ngwe Saung is located a bit south of Ngapali which is also another popular beach resorts in Myanmar.