View allAll Photos Tagged 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.
_____________________
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.
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.
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.
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 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.
Valle de los Ingenios, also named Valley de los Ingenios or Valley of the Sugar Mills, is a series of three interconnected valleys about 12 kilometres (7.5 mi) outside of Trinidad, Cuba. The three valleys, San Luis, Santa Rosa and Meyer, were a centre for sugar production from the late 18th century until the late 19th century. At the peak of the industry in Cuba there were over fifty cane sugar mills in operation in the three valleys with over 30,000 slaves working in the mills and the sugar cane plantations that surrounded them.
In 1988, Valle de los Ingenios and neighbouring Trinidad were declared a World Heritage Site by UNESCO. Although most of the sugar mills are in ruins, intact structures endure at some sites, including Guachinango, where the plantation house remains, and the plantation of Manaca Iznaga, where the owner's house, a tower and some barracones, the original slave quarters, still stand. Although the barracones are now used as housing and are in poor repair, the house (which has been converted into a restaurant) and the "Iznaga Tower" are well maintained. The 45 metre (147 ft) tower was constructed sometime in 1816 by the owner, Alejo Maria Iznaga y Borrell. According to experts, the bell that formerly hung on top of the tower announced the beginning and the end of the work day for the slaves, as well as the times for prayers to the Holy Virgin in the morning, midday and afternoon. It was also used to sound an alarm in case of fire or slave escape. The height and magnificence of the tower served to display Iznaga's power over his slaves and his stature in the sugar industry and local society; at one time it was the tallest structure in Cuba. A recognised landmark of the region, the Iznaga Tower testifies to the area's flourishing material culture in the Spanish colonial period. The large bell now rests at the foot of the tower.
From Wikipedia
Nitmiluk National Park (Katherine Gorge), Northern Territory, Australia.
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 may 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
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...
(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
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.
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.
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.
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?
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.
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
¤ On Black ¤
The glaciated range is composed of a series of horns and arêtes separated by U-shaped valleys headed by cirques and ended by moraines, making the Tetons a textbook example of alpine topography. Rubble piles left by ice age alpine glaciers impounded a series of interconnected lakes at the foot of the range (Jackson, Leigh, String, Jenny, Bradley, Taggart, and Phelps).
--from Wiki
I was hoping for more contrast out of the mountains, but the late-morning light wasn't having any part of that.
Spreads from Kintsugi, a series of interconnected zines I’m working on. It is meant to be read in any order. Like the art of mending pottery, its fractured narrative forms a whole through fragments—logs, memos, and entries from the Habitat and its inhabitants. Overseen by The Vault, they tend to the terrain and the Shells, blurring the line between human and machine, present and future, memory and repair.
I’m diving deeper and deeper into the surreal, sci fi world. Some of the images and text is done a long time ago. I’m now editing and putting it all together. It is all finally coming together!
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.
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
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
© 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
Ibirapuera Park is the most important urban park in the city of São Paulo, Brazil. It was inaugurated on August 21, 1954 to commemorate the fourth centenary of the city.
The park is administered by the Green and Environment Secretariat of the Municipality of São Paulo, however, inside the park there are numerous museums, auditoriums, biennial and other venues run by foundations or other municipal or state departments.
The park has bike path and thirteen lighted courts, as well as tracks that aim to races, walks and rest, all integrated into the cultural area. Its area is 1,584 square kilometers, and its three artificial and interconnected lakes occupy 15,700 m².
Thanks for the visit and comments on my photo!
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 ...
**********************
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.
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.
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
I took this one right after my last post. I love the fact that the moon, sky and sea are all interconnected. That single wave is a result of all those elements and more working together to create a truly beautiful result. Ahh.... in one of those moods.
I added a bit of contrast and saturation boost but not much else. Thanks for looking.
Exposure: 1
Aperture: f/13.0
Focal Length: 12 mm
ISO Speed: 100
Exposure Bias: +2/3 EV
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
Brookfield, Massachusetts.
Typha. Cattails.
Typha are aquatic or semi-aquatic, rhizomatous, herbaceous perennial plants.
Typha are often among the first wetland plants to colonize areas of newly exposed wet mud, with their abundant wind-dispersed seeds. Buried seeds can survive in the soil for long periods of time.[7] They germinate best with sunlight and fluctuating temperatures, which is typical of many wetland plants that regenerate on mud flats.[8] The plants also spread by rhizomes, forming large, interconnected stands.
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.
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.
My Website : Twitter : Facebook : Instagram : Photocrowd
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
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.
Taken at Tuggerah Lakes, a wetland system of three interconnected coastal lagoons, are located on the Central Coast of New South Wales, Australia
in times of uncertainty, it’s helpful to gather as community. not to yell, blame, and rant, but to hug and hold hands. to share our vulnerability and bear witness; to cry and laugh; to see the goodness in ourselves and each other; to remember we’re interconnected.
Layers and Folds. © Copyright 2022 G Dan Mitchell.
The complex geology of badlands terrain, Death Valley National Park.
The landscape of Death Valley National Park is extremely varied. The popular imagination first focuses on scenes of sand dunes, the classic signifier of “desert.” But the place is full of canyons, stream beds, surprising instances of water, mountain peaks, and even forests of several types. All of these are special, but scenes like this one may embody one of the the most common elements of this landscape, the exposure of its underlying geology.
The area of this photograph is incredibly complex. It is a maze of small, eroded formations and canyons, all of them interconnected. Underlying this are uplifted layers of material in colors ranging from nearly black to nearly white, interspersed with surprising bits of red, blue, and green. I photographed here early in the morning because the light was softer and richer and because the low angle of the sun entering the scene from the side delineated the eroded features.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
World Animal Day 2025 is on Saturday, October 4. This year marks the 100th anniversary of the event. Theme: "Save Animals, Save the Planet" The theme for the 100th anniversary in 2025 is "Save Animals, Save the Planet". The theme emphasizes that protecting animal welfare and protecting the environment are interconnected goals that contribute to a more sustainable future for all.
Prompt: Create a digital fine art illustration celebrating 100 Years of World Animal Day (04 October 2025). The composition should be horizontal aspect ratio, bright, and vibrant, with a lush jungle scene as the backdrop.
A majestic lion standing on the left side. A colorful mandrill sitting at the center, with vivid blue and red facial markings, surrounded by glowing plants and greenery. A gazelle and Zebra standing gracefully on a rock to the right side, looking outward. Dense tropical vegetation with lush green leaves, glowing plants, and magical lighting effects in the background.
Text overlay at the top center: “100 Years of World Animal Day” in bold white lettering, with the date 04 October 2025 in smaller green text nearby. Text overlay at the bottom center: “Save Animals, Save the Planet.” in clean, elegant white font.
Style: Digital fine art, ultra-realistic yet vibrant illustration, glowing details, smooth shading, museum-quality finish.
This digital fine art was created using OpenAI Sora AI and Photoshop
I am fascinated by the interconnectivity within nature. Everything must be connected to thrive and for trees, there's even a name for it: mycorrhizal networks. According to Wikipedia, its "an underground network found in forests and other plant communities, created by the hyphae of mycorrhizal fungi joining with plant roots. This network connects individual plants together." They can even send out distress signals and alter their behavior in response.
The trick for me then, was how to photograph this. Our walk through a west coast old growth forest gave me at least a partial answer, which I've shown here.
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
Taken at Tuggerah Lakes, a wetland system of three interconnected coastal lagoons, are located on the Central Coast of New South Wales, Australia
Taken at Tuggerah Lakes, a wetland system of three interconnected coastal lagoons, are located on the Central Coast of New South Wales, Australia
Tonlé Sap (literally large river (tonle); fresh, not salty (sap), commonly translated to "Great Lake") refers to a seasonally inundated freshwater lake, the Tonlé Sap Lake and an attached river, the 120 km (75 mi) long Tonlé Sap River, that connects the lake to the Mekong.
They form the central part of a complex hydrological system, situated in the 12,876 km2 (4,971 sq mi) Cambodian floodplain covered with a mosaic of natural and agricultural habitats that the Mekong replenishes with water and sediments annually. The central plain formation is the result of millions of years of Mekong alluvial deposition and discharge. From a geological perspective, the Tonlé Sap Lake and Tonlé Sap River are a current freeze-frame representation of the slowly, but ever shifting Lower Mekong Basin. Annual fluctuation of the Mekong's water volume, supplemented by the Asian Monsoon regime causes the unique flow reversal of the Tonle Sap River.
The Tonlé Sap Lake occupies a geological depression (the lowest lying area) of the vast alluvial and lacustrine floodplain in the Lower Mekong Basin, which had been induced by the collision of the Indian Plate with the Eurasian Plate. The lake's size, length and water volume varies considerably over the course of a year from an area of around 2,500 km2 (965 sq mi), a volume of 1 km3 (0 cu mi) and a length of 160 km (99 mi) at the end of the dry season in late April to an area of up to 16,000 km2 (6,178 sq mi), a volume of 80 km3 (19 cu mi) and a length of 250 km (160 mi) as the Mekong maximum and the peak of the South-West monsoon's precipitation culminate in September and early October.
As one of the world’s most varied and productive ecosystems the region has always been of central importance for Cambodia's food provision. It proved capable to maintain the Angkorean civilization, the largest pre-industrial settlement complex in world history. Either directly or indirectly it affects the livelihood of large numbers of a predominantly rural population to this day. With regards to a growing and migrating population, ineffective administration and widespread indifference towards environmental issues the lake and its surrounding ecosystem is coming under increasing pressure from over-exploitation and habitat degradation, fragmentation and loss. All Mekong riparian states have either announced or already implemented plans to increasingly exploit the river's hydroelectric potential. A succession of international facilities that dam the river's mainstream is likely to be the gravest danger yet for the entire Tonle Sap eco-region.
The largest freshwater lake in Southeast Asia, that contains an exceptional large variety of interconnected eco-regions with a high degree of biodiversity is a biodiversity hotspot and was designated as a UNESCO biosphere reserve in 1997.
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.