View allAll Photos Tagged Immutability
forces of nature...
animate inanimate
flow of limb and bole
flow of ice and snow and stone
dynamic matrix
earths immutable heartbeat
Indifferent to the affairs of men, time runs out, precise, heedless, exact, and immutable in rhythm. Erwin Sylvanus
Para 52 Still Lifes: 32/52
This is the hole at the centre of a compact disc case - you know, that strange 'button' (with teeth) you have to press in order to release the disc.
The colours are the result of a technique called cross-polarization, which allows you to see the points of stress in the plastic caused by its manufacturing process.
___________________________________
It has been said that there is a hole at the centre of each and every one of us... a God-shaped hole. Blaise Pascal, French mathematician, physicist, inventor and writer (1623 – 1662) described that hole perfectly:
What else does this craving and this helplessness proclaim but that there was once in man a true happiness, of which all that now remains is the empty print and trace? This he tries in vain to fill with everything around him, seeking in things that are not there the help he cannot find in those that are, though none can help, since this infinite abyss can be filled only with an infinite and immutable object; in other words by God himself.
Les œuvres d'art monumentales illustrent la montée dans les années 90 d'une nouvelle architecture influencée par de nouvelles méthodes de conception et de processus de production numérisés. En permettant la variation de forme, qui est caractérisée par le flux d’informations qui la traverse, ces méthodes ont stimulé la création d’une architecture animée, vivante et dynamique dans laquelle se croisent les processus biologiques et la dynamique des fluides. Cette tendance, dite numérique, arithmétique et numérique, remet en question une architecture qui serait immuable et définitive au profit d'une "architecture liquide" (Marcos Novak), aux formes libres et évolutives, dans laquelle des cercles organiques et des surfaces continues se mélangent. Cela correspond au style de cette autre architecture qui, dans les années 1960 et 1970, est revenue aux styles plus anciens (gothique, baroque, expressionnisme) en évoquant la courbe, l'organique et le mouvement par rapport à la rigidité de l'angle droit.
The monumental works of art illustrate the rise in the 1990s of a new architecture influenced by new methods of digitized design and production processes. By allowing shape variation, which is characterized by the flow of information passing through it, these methods have stimulated the creation of an animated, dynamic and dynamic architecture in which biological processes and fluid dynamics intersect. This trend, known as numerical, arithmetical and numerical, calls into question an architecture that would be immutable and definitive in favor of a "liquid architecture" (Marcos Novak), with free and evolving forms, in which organic circles and continuous surfaces take place. mix. This corresponds to the style of this other architecture which, in the 1960s and 1970s, returned to older styles (Gothic, Baroque, Expressionism) evoking the curve, the organic and the movement in relation to the rigidity of the angle law.
Lacking inspiration for your 365 project? Join We're Here!
Strobist: AB1600 with gridded 60X30 softbox camera right. AB800 with gridded and diffused HOBD-W for rim. Triggered by Cybersync.
Lacking inspiration for your 365 project? Join We're Here!
Strobist: AB1600 with gridded 60X30 softbox camera right. AB800 with gridded and diffused HOBD-W for rim. Triggered by Cybersync.
Africa’s apex predator is both revered and feared. These felines hunt with prowess, cunning, and precision, without any hint of remorse for their deadly deeds. Yet, these majestic creatures are capable of passion and adoration, not just for their progeny but for their siblings and pride members, alike. Each time I visit the old world, I come away with a better understanding of my domestic felines at home. For the connections and similarities are uncanny. Despite separation by thousands of miles, millions of years, and extensive generations of evolution, the basic attributes of the cat remain immutable. #Lions
Evening in Aquinnah, Moshup Beach on Martha's Vineyard. 30 second exp, September 2012.
Soon I'll see it again.
Les œuvres d'art monumentales illustrent la montée dans les années 90 d'une nouvelle architecture influencée par de nouvelles méthodes de conception et de processus de production numérisés. En permettant la variation de forme, qui est caractérisée par le flux d’informations qui la traverse, ces méthodes ont stimulé la création d’une architecture animée, vivante et dynamique dans laquelle se croisent les processus biologiques et la dynamique des fluides. Cette tendance, dite numérique, arithmétique et numérique, remet en question une architecture qui serait immuable et définitive au profit d'une "architecture liquide" (Marcos Novak), aux formes libres et évolutives, dans laquelle des cercles organiques et des surfaces continues se mélangent. Cela correspond au style de cette autre architecture qui, dans les années 1960 et 1970, est revenue aux styles plus anciens (gothique, baroque, expressionnisme) en évoquant la courbe, l'organique et le mouvement par rapport à la rigidité de l'angle droit.
The monumental works of art illustrate the rise in the 1990s of a new architecture influenced by new methods of digitized design and production processes. By allowing shape variation, which is characterized by the flow of information passing through it, these methods have stimulated the creation of an animated, dynamic and dynamic architecture in which biological processes and fluid dynamics intersect. This trend, known as numerical, arithmetical and numerical, calls into question an architecture that would be immutable and definitive in favor of a "liquid architecture" (Marcos Novak), with free and evolving forms, in which organic circles and continuous surfaces take place. mix. This corresponds to the style of this other architecture which, in the 1960s and 1970s, returned to older styles (Gothic, Baroque, Expressionism) evoking the curve, the organic and the movement in relation to the rigidity of the angle law.
A simple rose, petals dressed in red,
Pressed against a picket fence,
White like freshly fallen snow.
A garden of light, and beauty, immutable.
Words superfluous.
Love, the bridge that links
Two quickened hearts.
Time frozen, eternity swirls
Like wispy tendrils of misty fog.
There is as much light as shade.
There is as much happiness as sadness.
There is as much life as death.
Without shade, there could not be any light.
Without sadness, there could not be any happiness.
Without death, there could not be any life.
Everywhere, around us, always in equal amounts.
A perfect and immutable balance.
A law of nature.
I am thankful for shade, because it makes light possible.
I am thankful for sadness, because it makes happiness possible.
I am thankful for death, because it makes life possible.
This HDR photograph was taken in the Snoqualmie Valley, near Carnation, WA.
The original has no water and no, you guessed it, death.
La marée est haute, le soleil est sur le déclin. Les bateaux, l'un après l'autre rentrent au port. Le rituel semble immuable. Venant du nord, ils s'enroulent à peine autour du phare et se laissent porter jusqu'à la digue opposée. Baisser les gaz à l'entrée du port. Emporté par son élan, le nez du bateau s'enfonce doucement dans l'eau. Soulevé par cette vague, il semble soudain comme en apesanteur. Oubliés le poids du navire, des machines. Se peut-il qu'il se transforme finalement en albatros ? Bien trop vite, le capitaine nous ramène à la raison. Le bateau reprend son rythme et s'enfonce doucement dans les profondeurs du port de Fécamp.
A son bord les hommes ont hâte de rentrer. La journée a été froide. De ce froid pressant qui s'insinue sous les cirés. De ce froid qui n'autorise pas le moindre confort, qui ne vous lâche plus une fois qu'il vous a pris, qui, malgré les efforts, ne vous laisse pas de doute. Il aura toujours raison.
Aujourd'hui, la mer était calme.
--- English translation with the help of deepl.com ---
The tide is high, the sun is on the decline. The ships, one after the other, return to the harbor. The ritual seems immutable. Coming from the north, they barely wrap themselves around the lighthouse and let themselves be carried to the opposite dike. Lower the throttle at the entrance to the harbor. Carried away by its momentum, the boat's nose gently sinks into the water. Raised by this wave, it suddenly seems like weightlessness. Forget the weight of the ship, the machines. Can it be that she finally transforms herself into an albatross? Far too quickly, the captain brings us back to reason. The boat resumed its rhythm and slowly sinks into the depths of the port of Fécamp.
On board, the men are eager to return. It's been a cold day. From this pressing cold that creeps in under the oilskins. This cold weather that does not allow the slightest comfort, that does not let you go once it has taken you, that, despite all the efforts, does not leave you in any doubt. It will always win.
Today, the sea was calm.
“In the immutability of their surroundings the foreign shores, the foreign faces, the changing immensity of life, glide past, veiled not by a sense of mystery but by a slightly disdainful ignorance; for there is nothing mysterious to a seaman unless it be the sea itself, which is the mistress of his existence and as inscrutable as Destiny.”
Joseph Conrad (1857-1924)
Tombstone Territorial Park, Yukon, Canada
Journey of Tombstone Mountains:
Day 9 pas de deux des ciels
By the time we had returned from our previous night’s adventure it was already 7 AM in the morning. Suffice to say the day started off with a well-deserved rest until the afternoon. After a few hours of rest, we set out on our penultimate adventure by climbing the mountains near our campsite to setup our tripods for our last shots of the milky way in front of the Tombstone mountains.
We met up with JiaJia and Bokang at the campsite and shared our last dinner together. We were down to 2 bags to dry food and a can of Spam between the 4 of us. We shared stories of the previous days’ adventure and savored the last bit of food we would have for a while.
My plan that night was to head up north to shoot aurora then run back down south to shoot the milky way shots where my tripod was setup. During Edcool’s and my last adventure, lady luck decided to show us favor that night. Our northern site had perfect auroras on a pristine background that worked out just the way I envisioned. Once we walked down to our milky way spot, the sky was calm and allowed us a perfect canvas of the sky. On top of that the aurora had arrived to decorate the sky as if to give me a final farewell. It was exactly what I had come for. The perfect mix of the immutable milky way and fickle aurora dancing together over the slumbering Tombstone mountain. A perfect pas de deux des ceils.
Day 1:
www.flickr.com/photos/wei_willa/30199520844/in/photostream/
Day 2:
www.flickr.com/photos/wei_willa/30258461324/in/dateposted/
Day 3:
www.flickr.com/photos/wei_willa/31388229693/in/dateposted/
Day 4:
www.flickr.com/photos/wei_willa/31919129300/in/dateposted/
Day 5:
www.flickr.com/photos/wei_willa/32356887406/in/dateposted/
Day 6:
www.flickr.com/photos/wei_willa/32390114776/in/dateposted/
Day 7:
www.flickr.com/photos/wei_willa/32451986006/in/photostream/
Day 8:
www.flickr.com/photos/wei_willa/32221377640/in/dateposted/
Thanks for taking the time to take a look of my pictures. Your views, comments, faves, and support are greatly appreciated!!
« La campagne à Paris », c’est le nom de ce petit îlot de pavillons, perché en haut d’une butte du 20e arrondissement. Un lieu unique.
Soyons franc, le quartier aux alentours n’est pas spécialement reconnu pour abriter de merveilleux monuments, ni pour être le plus attractif de Paris. Néanmoins, la Campagne à Paris mérite à elle seule de s’y rendre tant l’endroit est, outre insolite, absolument somptueux.
Tout participe à donner à la Campagne à Paris un caractère unique que vous ne retrouverez nulle part ailleurs dans la capitale. Tout d’abord son silence immuable, un luxe rare à Paris, la circulation y est interdite, ce qui rajoute à la beauté des lieux une délicieuse solennité. Ses charmants pavillons ensuite (il y en a environ 90), qui présentent à la fois une unité de construction et une personnalité propre.
Des pavillons construits au début du 20e siècle pour une population ouvrière, destinés à améliorer leurs conditions de vie et à leur faciliter l’accès à la propriété.
Alors que certains pavillons sont dotés de jolies marquises, vous en verrez d’autres dont les jardinets débordent de glycines et de roses, ou encore des façades qui ont choisi de se différencier par des couleurs vives et originales. J’y retournerai à la floraison des glycines, il y en a partout !
Enfin, c’est l’impression d’être totalement isolé du reste de la ville qui fait de la campagne à Paris un lieu à part. Alors que d’autres superbes endroits, comme la Butte Bergeyre ou la Butte aux Cailles par exemple, nous offrent aussi des paysages de village, seule la Campagne à Paris arrive à nous faire oublier l’espace d’un instant… que nous sommes à Paris.
------------------/
"The countryside in Paris" is the name of this little block of pavilions perched on top of a hillock of the 20th arrondissement. A unique place.
Let us be frank, the surrounding neighborhood is not particularly recognized for housing wonderful monuments, nor to be the most attractive of Paris. Nevertheless, the Campaign in Paris alone deserves to go there so much the place is, besides unusual, absolutely sumptuous.
Everything helps to give the Campaign in Paris a unique character that you will not find anywhere else in the capital. First of all, its immutable silence, a rare luxury in Paris, traffic is prohibited, which adds to the beauty of the places a delicious solemnity. Its charming pavilions then (there are about 90), which present both a building unit and a personality of its own.
Pavilions constructed at the beginning of the 20th century for a working population, intended to improve their living conditions and to facilitate their access to property.
While some pavilions have pretty canopies, you will see others with their gardens overflowing with wisteria and roses, or facades that have chosen to differentiate themselves by bright and original colors. I will return to the bloom of wisteria, there are everywhere!
Finally, it is the impression of being completely isolated from the rest of the city that makes the countryside in Paris a place apart. Whereas other beautiful places, such as the Butte Bergeyre or the Butte aux Cailles, for example, we also offer landscapes of village, only the Campaign in Paris happens to make us forget the space of a moment ... that we are at Paris.
Fox Theater
Redwood City, California
31 Jan 2024
Rainy night
The immutable homeless and the ephemeral passersby
Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.
L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.
C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.
Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.
En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.
Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …
L’un des moments les plus forts de la Saint Hubert, c’est le fameux bataillon carré. Un moment solennel, plein de tradition et avec un déroulement codifié et immuable. Il commence par une revue des troupes, suivie de décharges et de feux roulants.
The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.
The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.
It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.
Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.
Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.
Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.
One of the strongest moments of Saint Hubert’s Day is the famous square battalion. A solemn moment, full of tradition and with a codified and immutable sequence. It begins with a review of the troops, followed by discharges and rolling fire.
Explore : Apr 10, 2009 # 6
www.youtube.com/watch?v=n6kLm0OY8Zs
Venezia è la città più complessa e sfuggente del mondo: la sua natura anfibia si ripercuote in ogni manifestazione della sua vita, fisica e spirituale, del singolo e della collettività. Qui ogni cosa è bifronte e contiene in sé il suo contrario, come nel flusso della marea è già implicito il reflusso. Venezia è l’Adriatico e la terraferma, il Gotico ed il Barocco, l’Oriente e l’Occidente. La stessa città è un’antinomia, una sfida alla natura, un’eccezione della storia. Venezia nacque come sfida al mare sul fango di una laguna. Thomas Mann, nel suo indimenticabile "La morte a Venezia" recitava: "In nessun altro modo se non per nave, dall’ampio mare, si sarebbe dovuto porre il piede nella città inverosimile fra tutte". Il fascino di Venezia sta nella sua apparente immutabilità, nel suo resistere al tempo. Prima ancora che un’anomalia urbanistica, è un modo inedito di stare al mondo, è l’esistenza reinventata da cima a fondo.
------------------------------------------------------------------------------------------------------------------
Venice is the most complex and elusive city of the world: his amphibian nature is translated into every event of his life, physical and spiritual, individual and collective. Here everything is two faces and contains within it its opposite, as in the flow of the tide is already implicit reflux. Venice is the Adriatic and the mainland, the Gothic and Baroque, the East and West. The city is un'antinomia, a challenge to nature, an exception in history. Venice was founded as a challenge to the sea on the mud of a lagoon. Thomas Mann, in his memorable "Death in Venice" read: "In no other way except by boat, From the sea, he would have put his foot in the city among all improbable." The charm of Venice lies in its apparent immutability in its resistance to time. Even before an anomaly urbanism is a new way of being in the world, there is reinvented from top to bottom.
********************************************
EXPLORE: August 27, 2014
********************************************
I'm particularly pleased because it's an abstract work of art
rather than the usual photo that gets into Explore.
HOORAY FOR ART !
*******************************************
FOR A VERSION OF THE I CHING
The imminent is as immutable
as rigid yesterday. There is no matter
that rates more than a single, silent letter
in the eternal and inscrutable
writing whose book is time. He who believes
he’s left home already has come back.
Life is a future and well-traveled track.
Nothing dismisses us. Nothing leaves.
Do not give up. The prison is bereft
of light, its fabric is incessant iron,
but in some corner of your mean environs
you might discover a mistake, a cleft.
The road is fatal as an arrow’s flight
but God is watching in the narrowest light.
~ Jorge Luis Borges (ed. Alexander Coleman, original translations, Robert Fitzgerald )
PARA UNA VERSIÓN DEL I KING
El porvenir es tan irrevocable
como el rigido ayer. Bo hay una cosa
que no sea una letre silenciosa
de la etera escritura indescrifrable
Cuyo libro es el tiempo. Quien se aleja
de su casa ya ha vuelto. Nuestra vida
es el senda futura y recorrida.
Nada nos dice adiós. Nada nos deja.
No te rindas. La ergástula es oscura,
la firme trma es de incesante hierro,
pero en algún recodo de tu encierro
puede haber un descuido, una hendidura.
El camino es fatal como la flecha
Pero en las grietas está Dios, que acecha.
Piet Mondrian (actually Mondriaan,the artist dropped the second "a" in his surname in 1911)
b.1872 Amersfoort,Netherlands
d.1944 New York
Composition No.1:Lozenge with Four Lines
(1930)
-oil on canvas
Movement-De Stijl (The Style)
In 1918,Mondrian created his first "losangique" paintings such as the latter Composition No.1 Lozenge with Four Lines by tilting his square canvas 45 degrees.Most of these diamond-shaped works were created in 1925 and 1926 following his break with the De Stijl group over Theo van Doesburg's introduction of the diagonal.Mondrian felt that in doing so van Doesburg had betrayed the movement's fundamental principles thus forfeiting the static immutability achieved through stable verticals and horizontals.Mondrian asserted however that his own rotated canvases maintained the desired equilibrium of the grid,while the 45 degree turn allowed for longer lines.
Art historian Rosalind Krauss identifies the grid as a structure that remains emblematic modernist ambition.She notes that these painting by Mondrian whose works had become synonymous with the grid,two signal opposing generative tendencies in which the lines intersect just beyond the picture frame (suggesting that the work is taken from a larger whole),exemplifies a centrifugal of the grid;Tableau 2,whose lines stop short of the picture's edges (implying that it is a self-contained unit) evinces a centripetal tendency.Krauss argues that these dual and conflicting readings of the grid embody the central conflict of Mondrian's-and indeed of Modernism's- ambition: to represent properties of material or perception while also responding to a higher,spiritual call."The grid's mythic power" Krauss asserts "is that it makes us able to think that we are dealing with materialism (or sometimes science or logic) while at the same time it provides us with a release into belief (or illusion,or fiction)".
The 2nd Law of Thermodynamics, which states that everything in the universe goes from an ordered state to a disordered state, is also an excellent explanation of the 4th dimension, linear time... you can't go from one state to another without time in between. Time refuses to slow down one tick for any of us… but we can record snippets of it, like this, and light is frozen in time.
We photographers can play with that light, add snap and glow, depth and definition, and make the world our palette. We can take that world within the image and order it and disorder it to our heart’s content… and it becomes art. That “art” can help us see this world in new ways… yet, does that change the reality of this world?
In some ways, time’s incessant march toward disorder can be beautiful… beaches, canyons, deserts, mountains, and valleys are all evidence of earth, weather, and gravity working in concert with thermodynamics… and it’s evident throughout the Universe, because everything in this universe is subject to the laws of nature. Yet, those laws will never relent, and their eventuality can be anything but beautiful. Physicists have determined what that “eventuality” might look like, and it’s downright scary: having exhausted its practical energy, the Universe becomes nothing more than a void of depleted atoms and some scattered photons that hadn’t gotten the message that there was no longer a reason to shed light… there will be no living creature to determine the reality of it.
There are many in this world who feel humanity can reach a place of order according to whatever their proclivity seems to be… but “thermodynamics” doesn’t prove that out, just as events of late in this world seem to point out. Much of that proclivity in this country (and likely with others) comes straight out of the 1970’s in the form of militant autonomy, also known as “hippie” ethic. In other words, many feel they can do or say or be any outrageous thing they choose without the least impunity whatsoever. Even when their inclination is toward an idealistic “peace” and “love” and “good”, if they define that outside of a transcendent source, is any of it truly good? Often, how “peaceful” and “loving” they are when you disagree with them answers that quite evidently... and that's truly not good. That ethic is now known as “progressivism”, which has become a religion unto itself, and though it’s not atheist per se, its name is a contradiction… unless you consider an eventual step toward godlessness as progression. There are consequences to that, and our world is witness to that now. Such determination only proves to me that humanity is inescapably caught in the relentless pull of the black hole of disorder... but doesn’t that assume humanity was once ordered? I believe that, once, it was in a place of order… it was called Eden.
I know from personal experience that any such understanding offends many people, as they don't want God saying "No" to whatever their chosen tendency is... but I have a question for them... have you ever thought that God's "No" can lead to a greater "Yes"? Though they are immutable, the Ten Commandments aren't merely relentless laws... if they were, everyone who's ever lived would be at total enmity with God, as no one can live up to them entirely. They're connected... if you've ever broken one, you've broken them all. Rather, they just prove how lost we are without a Savior. Our only hope in an order that truly matters isn’t in nature, but rather in what lays beyond nature. At best, our hearts are still a long way from the manger that we celebrate in this season… for some, a lot further away than 2,000 years can take them.
Where the church and culture diverge, it's culture that must change. In many ways, however, the church is becoming the culture it's here to address. The 2nd Chapter of Revelation points out something that I find not just interesting, but also relevant to this age… are you sensitive to this too?... “To the angel of the church in Ephesus write:
These are the words of him who holds the seven stars in his right hand and walks among the seven golden lampstands. I know your deeds, your hard work and your perseverance. I know that you cannot tolerate wicked people, that you have tested those who claim to be apostles but are not, and have found them false. You have persevered and have endured hardships for my name, and have not grown weary. Yet I hold this against you: You have forsaken the love you had at first.”
For those who may not understand, "the love you had at first" is not some noble idealistic notion to fix mankind... it comes as the One whose birth we celebrate in this season. Perhaps it’s time to get back to that “first love”, as the answers we all seek for a hurting world are there and there alone.
This nest was made and used since Spring by the Northern Mockingbird (Mimus polyglottos) in our yard. Polyglottos means multiple languages in Greek. It mimics the songs of other birds, some insects, and people!
Interesting to note Charles Darwin visited the Galapagos Island in 1835, noticed mockingbirds differed from island to island, which could undermine the doctrine of Stability of Species. He doubted that species were immutable, which led to his theory of evolution...
It all came to be too much.
The hunger, the fatigue, the near-misses and suspicious glances, the stench of sweat and blood, the stress of every move being observed by an omniscient demon likely bent on world domination...
The heroine threw her head back and screamed for the whole forest to hear. Pain, frustration, confusion, anger, fury: a cacophony bounced off of every tree and rock, but this time, something inside answered her prayers.
Bone and flesh ripped from her back, stretching and splaying into magnificent, powerful wings. A length of bone several feet long emerged from the base of her spine into a sturdy tail. Toes and temples calcified into hooves and horns, hardened and immutable as the heroine's resolve.
Confusion poured through her thoughts at this transformation, but the demonic extensions called to her, drowning it with the urge to fly . . .
Les œuvres d'art monumentales illustrent la montée dans les années 90 d'une nouvelle architecture influencée par de nouvelles méthodes de conception et de processus de production numérisés. En permettant la variation de forme, qui est caractérisée par le flux d’informations qui la traverse, ces méthodes ont stimulé la création d’une architecture animée, vivante et dynamique dans laquelle se croisent les processus biologiques et la dynamique des fluides. Cette tendance, dite numérique, arithmétique et numérique, remet en question une architecture qui serait immuable et définitive au profit d'une "architecture liquide" (Marcos Novak), aux formes libres et évolutives, dans laquelle des cercles organiques et des surfaces continues se mélangent. Cela correspond au style de cette autre architecture qui, dans les années 1960 et 1970, est revenue aux styles plus anciens (gothique, baroque, expressionnisme) en évoquant la courbe, l'organique et le mouvement par rapport à la rigidité de l'angle droit.
The monumental works of art illustrate the rise in the 1990s of a new architecture influenced by new methods of digitized design and production processes. By allowing shape variation, which is characterized by the flow of information passing through it, these methods have stimulated the creation of an animated, dynamic and dynamic architecture in which biological processes and fluid dynamics intersect. This trend, known as numerical, arithmetical and numerical, calls into question an architecture that would be immutable and definitive in favor of a "liquid architecture" (Marcos Novak), with free and evolving forms, in which organic circles and continuous surfaces take place. mix. This corresponds to the style of this other architecture which, in the 1960s and 1970s, returned to older styles (Gothic, Baroque, Expressionism) evoking the curve, the organic and the movement in relation to the rigidity of the angle law.
The unique beauty of the light provided by the Moon is that it can offer three-dimensionality to the landscape, just like the Sun, but in a much more delicate way... let's call it a "whispered three-dimensionality" :-)
Something always very elegant and dreamy.
In a world that loves to flaunt things, often of vulgar quality, it is always a privilege to be face to face with the immutable, subtle, aesthetic senses dictated by nature.
And it is a pleasure to know that all this true beauty will survive us.
Here you can see the Malatrà plateau (Val Ferret, Aosta Valley, Italy) flooded by snow, exactly when the moon is beginning to illuminate the surrounding ridges.
My inevitable tent has allowed me to spend the night on site.
_____________________
©Roberto Bertero, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
[139/365] "As our bodies live upon the earth and find sustenance in the fruits which it produces, so our minds feed on the same truths as the intelligible and immutable substance of the divine Word contains." - Nicolas Malebranche
And now I'm back with planting again. This will be the last part of the "Nature and nurture" sub-series of the "Nature Trees" series. For this part it's "Nature and nurture, two of two" a.k.a. "Splash and Droplets Fail!" haha. I should be quick in pre-setting my camera next time..
View sub-series full text in this link.
An author misattributed to Jesus the quote “I am the Rose of Sharon”. Actually, in Song of Solomon 2:1, a young lady speaks sensually, enticing, inviting her lover. “ I am a rose of Sharon, a lily found in one of the valleys.” The floral fragrances of crocus, lilies and perhaps roses in a meadow made senses sing. They provided a venues for lovers to frolic
Eternal truths are forever the same, immutable, their earthly manifestation forever changing.
The author showed a modern Rose of Sharon, no way associated with the Biblical reference. Yet her prose encouraged me to take neighborhood walks, to nearby Rose of Sharon bushes. There, I sensed two characteristics of the Eternal – Jehovah Jireh and the gateway between darkness and light.
A bee, buried deeply among with northern hibiscus, was covered with a coating of pollen. He worked calmly with the knowledge that Jehovah Jireh bestowed the blessing of bountiful pollen within the flowers.
Countless generations past, God gave aging Sarah and elderly Abraham son Issac. Then one day God put Abraham’s faith to the test. God directed Abraham to offer Issac as a burnt sacrifice. Undoubtedly troubled, Abraham bult an altar then raised a knife above his son. A special messenger from God arrived, expressed that Abraham had shown his loyalty to the one true God. A ram appeared with horns caught in a thicket as an alternate sacrifice. Jehovah Jireh – God provides
Secondly, I captured a picture a Rose of Sharon, morning shadows within the floral bush. Like the flower, Jesus sits at the nexus between light and darkness.
John 1 Before time itself was measured, the Voice was speaking.
The Voice was and is God.
2 This celestial Word remained ever present with the Creator;
3 His speech shaped the entire cosmos.
Immersed in the practice of creating,
all things that exist were birthed in Him.
4 His breath filled all things
with a living, breathing light—
5 A light that thrives in the depths of darkness,
blazes through murky bottoms.
It cannot and will not be quenched.
Estic començant a caminar per un nou sender. És diferent, en la meva solitud em sento com més acompanyat.
Les idees que em semblaven dogmes s'esdevenen idees de canvi i d'acceptació, com noves propostes qu m'ajuden a la vida. Allò que era immutable ara s'esdevingué canviant i totalment acceptable
La vida em torna a il·lusionar per puc aprendre més, accepto més i comparteixo millor.
In a certain sense, Adam's sin was a sin arising from inquisitiveness, if such an expression be admissible. Originally, Adam saw contingencies in the aspect of their relationship to God and not as independent entities. Anything that is considered in that relationship is beyond the reach of evil; but the desire to see contingency as it is in itself is a desire to see evil; it is also a desire to see good as something contrary to evil. As a result of this sin of inquisitiveness - Adam wanted to see the "other side" of contingency - Adam himself and the whole world fell into contingency as such; the link with the divine Source was broken and became invisible; the world became suddenly external to Adam, things became opaque and heavy, they became like unintelligible and hostile fragments. This drama is always repeating itself anew, in collective history as well as in the life of individuals.
A meaningless knowledge, a knowledge to which we have no right either by virtue of its nature, or of our capacities, and therefore by virtue of our vocation, is not a knowledge that enriches, but one that impoverishes. Adam had become poor after having acquired knowledge of contingency as such, or of contingency in so far as it limits. We must distrust the fascination which an abyss can exert over us; it is in the nature of cosmic blind-alleys to seduce and to play the vampire; the current of forms does not want us to escape from its hold.
Forms can be snares just as they can be symbols and keys; beauty can chain us to forms, just as it can also be a door opening towards the formless.
Or again, from a slightly different point of view: the sin of Adam consists in effect of having wished to superimpose something on existence, and existence was beatitude; Adam thereby lost this beatitude and was engulfed in the anxious and deceptive turmoil of superfluous things.
Instead of reposing in the immutable purity of Existence, fallen man is drawn into the dance of things that exist, and they, being accidents, are delusive and perishable.
In the Christian cosmos, the Blessed Virgin is the incarnation of this snow-like purity; She is inviolable and merciful like Existence or Substance; God in assuming flesh brought with Him Existence, which is as it were His Throne; He caused it to precede Him and He came into the world by its means. God can enter the world only through virgin Existence.
---
Frithjof Schuon
---
Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)
🇫🇷 Il est l'un des sites historiques les plus fascinants de la région puisqu'il passa successivement entre les mains des Serbes, des Vénitiens, des Hongrois et des Ottomans. Tous laissèrent d'ailleurs derrière eux des traces immuables de leurs batailles pour conserver la ville.
Juste à l’extérieur de la porte principale du Stari Bar, cette simple construction (de 1662) est constituée d’une base carrée en pierre et d’un joli minaret entourés d’un mur de pierre. L’édifice surmonté d’un dôme près de l’entrée est le tombeau du derviche Hasan
🇬🇧 It is one of the region's most fascinating historic sites, having passed through the hands of the Serbs, Venetians, Hungarians and Ottomans. All of them left behind immutable traces of their battles to preserve the city.
Just outside the main gate of the Stari Bar, this simple building (dating from 1662) consists of a square stone base and a pretty minaret surrounded by a stone wall. The domed building near the entrance is the tomb of the dervish Hasan.
🇩🇪 Die Stadt ist eine der faszinierendsten historischen Stätten der Region, da sie nacheinander von den Serben, Venezianern, Ungarn und Osmanen besetzt wurde. Alle hinterließen unveränderliche Spuren ihrer Kämpfe um den Erhalt der Stadt.
Direkt außerhalb des Haupttores der Stari Bar befindet sich dieses einfache Gebäude (aus dem Jahr 1662), das aus einem quadratischen Steinsockel und einem hübschen Minarett besteht, die von einer Steinmauer umgeben sind. Das von einer Kuppel gekrönte Gebäude in der Nähe des Eingangs ist das Grab des Derwischs Hasan
🇮🇹 È uno dei siti storici più affascinanti della regione, essendo passata per le mani di serbi, veneziani, ungheresi e ottomani. Tutti hanno lasciato tracce immutabili delle loro battaglie per preservare la città.
Appena fuori dalla porta principale dello Stari Bar, questo semplice edificio (risalente al 1662) è costituito da una base quadrata in pietra e da un grazioso minareto circondato da un muro di pietra. L'edificio a cupola vicino all'ingresso è la tomba del derviscio Hasan.
🇪🇸 Es uno de los lugares históricos más fascinantes de la región, pues ha pasado por las manos de serbios, venecianos, húngaros y otomanos. Todos ellos dejaron tras de sí huellas inmutables de sus batallas por preservar la ciudad.
Justo delante de la puerta principal del Stari Bar, este sencillo edificio (que data de 1662) consta de una base cuadrada de piedra y un bonito minarete rodeado por un muro de piedra. El edificio abovedado cerca de la entrada es la tumba del derviche Hasan.
It is an absolute, immutable truth that after all the Christmas decorations are packed away, another one will turn up. Found this guy hanging out in my kitchen...
My 365-2023: #2 of 365
Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.
L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.
C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.
Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.
En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.
Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …
L’un des moments les plus forts de la Saint Hubert, c’est le fameux bataillon carré. Un moment solennel, plein de tradition et avec un déroulement codifié et immuable. Il commence par une revue des troupes, suivie de décharges et de feux roulants.
The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.
The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.
It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.
Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.
Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.
Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.
One of the strongest moments of Saint Hubert’s Day is the famous square battalion. A solemn moment, full of tradition and with a codified and immutable sequence. It begins with a review of the troops, followed by discharges and rolling fire.
(FULL SIZE VIEW is STRONGLY SUGGESTED)
Photo Winner of The Contest "La Luce-The Light" on "Only challenge" Group (11/09/2008) !!
24 March, 2007
San Possidonio (MO) -Italy
An old hovel / Un vecchio casolare
La catena dei tuoi passi
oltre la riga di luce
ai piedi della porta.
Conduco ogni pensiero
davanti allo schermo
dei tuoi sussulti.
Ma non riesco a fermarti.
E piegato in questo buio
conosco l’immutabile dimensione
dei segni allineati
sul filo del mio abbandono.
-My unofficial English Language translation :
The chain of your steps
beyound the light line
at the foot of the door.
I direct each thoughts
facing the shield
of your starts.
However I can't stop you.
And subdued in this dark
I know the immutable dimension
of the signs aligned
on the slight of my abandoning.
Oltre la Porta (Beyond the Door)
by CHRIS (poeta Italiano esordiente - beginner Italian poetry)
I made a trip to Kyoto again and enjoyed the Gion Festival which has been continuing since the 9th century. Everything is passing quickly here in Tokyo, so I often visit in Kyoto and feel a sense of immutability.
The Sentinel with its granite profile guards the entrance to this little bay. It is immutable yet ever changing.
20 Dec 15. Lights warm a chilly evening on the Mall, Washington, DC. Christmas approaches.
The true Light, who shines upon the heart of everyone, was coming into the cosmos. - John 1: 9
As the founding fathers intended: "The general principles on which the fathers achieved independence were the general principles of Christianity. I will avow that I then believed, and now believe, that those general principles of Christianity are as eternal and immutable as the existence and attributes of God."
– John Adams
Kindle the Spirit of God and country, so that it shines brightly.
Hillsong United - Stay and Wait
www.youtube.com/watch?v=4B-cCFIp0A4
Your Christmas gift for 2015 - a gallery of Christmas and Winter photos from the Flckr family. www.flickr.com/photos/karl_wolfgang/galleries/72157662454...
For 1 or 2 years they have been restoring the dome. Grand old lady is 150 years old. For restoration see: www.aoc.gov/dome For time lapse, see
Trying to grasp a bit of truth about ourselves by gazing in the mirror is futile; mirrors separate the real world from a deceiving world that lures the mind, concealing the truth behind a blur of the reflected immutable past that makes it seem better or worse, but which is utterly not genuine.
Strictly speaking doctrinal knowledge is independent of the individual. But its actualization is not independent of the human capacity to act as a vehicle for it. He who possesses truth must none the less merit it although it is a free gift. Truth is immutable in itself, but in us it lives, because we live.
If we want truth to live in us we must live in it.
Knowledge only saves us on condition that it enlists all that we are, only when it is a way and when it works and transforms and wounds our nature even as the plough wounds the soil.
To say this is to say that intelligence and metaphysical certainty alone do not save; of themselves they do not prevent titans from falling. This is what explains the psychological and other precautions with which every tradition surrounds the gift of the doctrine.
When metaphysical knowledge is effective it produces love and destroys presumption. It produces love, that is to say the spontaneous directing of the will towards God and the perception of "myself" - and of God - in one's neighbour. It destroys presumption, for knowledge does not allow a man to overestimate himself or to underestimate others. By reducing to ashes all that is not God it orders all things.
All St. Paul says of charity concerns effective knowledge, for the latter is love, and he opposes it to theory inasmuch as theory is human concept. The Apostle desires that truth should be contemplated with our whole being and he calls this totality of contemplation "love".
Metaphysical knowledge is sacred. It is the right of sacred things to require of man all that he is.
Intelligence, since it distinguishes, perceives, as one might put
it, proportions. The spiritual man integrates these proportions into his will, into his soul and into his life.
All defects are defects of proportion; they are errors that are lived. To be spiritual means not denying at any point with one's "being" what one affirms with one's knowledge, that is, what one accepts with the intelligence.
Truth lived: incorruptibility and generosity. Since ignorance is all that we are and not merely our thinking, knowledge will also be all that we are to the extent to which our existential modalities are by their nature able to participate in truth.
Human nature contains dark elements which no intellectual
certainty could, ipso facto, eliminate...
Pure intellectuality is as serene as a summer sky - serene with a serenity that is at once infinitely incorruptible and infinitely generous.
Intellectualism which "dries up the heart" has no connection
with intellectuality.
The incorruptibility - or inviolability - of truth is bound up neither with contempt nor with avarice.
What is man's certainty? On the level of ideas it may be perfect, but on the level of life it but rarely pierces through illusion.
Everything is ephemeral and every man must die. No man is
ignorant of this and no one knows it.
Man does not always accept truth because he understands it; often he believes he understands it because he is anxious to accept it.
People often discuss truths whereas they should limit themselves to discussing tastes and tendencies ...
Acuteness of intelligence is only a blessing when it is compensated by greatness and sweetness of the soul. It should not appear as a rupture of the equilibrium or as an excess which splits man in two. A gift of nature requires complementary qualities which allow of its harmonious manifestation; otherwise there is a risk of the lights becoming mingled with darkness.
---
Frithjof Schuon: Spiritual Perspectives and Human Facts
---
Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)
---
Image: Descent from the Cross, Novgorod school (late 15th c.)
Eco Warriors; Don't Panic! The basket pictured was placed there by myself & retrieved as soon as the 'shoot' was done. Looking at this I was reminded of Canute & his folly in the face of Nature's immutable power. Is the basket Humanity and the tide the march of time? Heavens; it's Friday and surely beer 'O clock... ;-)
We're Here are a bunch of floppy basket-cases!
Hand-held & filter-free & manually focused on Nolton Haven at lunchtime where the Mrs & I enjoyed an al fresco snack; marvellous!
Apocalyptic Metamorphosis I - Nuclear by Daniel Arrhakis (2015)
The First work of my series Apocalyptic Metamorphosis; a Series of Seven Works, seven personal visions about our World today ..
I believe That artists are more than painters and sculptors of beauty ... sometimes they are the prophets of a new Hope and Transformation ... specially in a World closed in itself with fear of everything and rule by economists unscrupulous, dictators and assassins !
The main figures were based in the sculptures of the great artist Manfred Kielnhofer.
With the music : Audiomachine - Legacy of the Lost
Latest data on how many nuclear weapons there are in the World shows approximately by default that there are almost 16,000 nuclear warheads in the world, which is down from 64,000 in 1986 at the height of the Cold War.
The beginning of a new Series about the future of The World, this series has a sense of transformation is not a immutable fate ... so it depends on us ... all of us !
" ... We know now more than ever before that the risks are too high, the dangers too real. It is time for States, and all those of us in a position to influence them, to act with urgency and determination to bring the era of nuclear weapons to an end. " ( INTERNATIONAL COMMITTEE OF THE RED CROSS, part of a Statement, 18 FEBRUARY 2015 ) :
www.icrc.org/en/document/nuclear-weapons-ending-threat-hu...
_______________________________________________
Work in SURREALART challenge "The seven deadly sins" :
www.flickr.com/groups/2676496@N21/discuss/72157657014591589/
_____________________________________________
Thank you for your support and visit, so sorry for some delay in answer, trying catching up but slowly because i am with much work !
Thank you for your understand dear friends and my best wishes for a great weekend ! : )
Blue enigma of ages, ringed with immutable rock,
Fiery cradle of mountains whose barren ridged mock
Man's puny and ceaseless endeavor, his straining and pigmy strife;
Let him look on the patience of ages and know the end of life.
Mighty forge of the Titans where mountains were welded and made,
Glaciers have cooled your seething, hemlocks reared their shade,
And now you mirror your cradle, your mountain-making done,
And now your inscrutable depths reflect the dwelling of the sun.
Now men stand safe on your lava brink with awe intaken breath
Lost in the contemplation of a mighty mountains' death.~Russell Andrews, park ranger
Crater Lake National Park
this particular night as an amazing and magic sky colours
The Smashing Pumpkins - Stand Inside Your Love
www.youtube.com/watch?v=2nm4xv3firw&list=RDMM&ind...
You and me
Meant to be
Immutable
Impossible
It's destiny
Pure lunacy
Incalculable
Insufferable
But for the last time
You're everything that I want and ask for
You're all that I'd dreamed
Who wouldn't be the one you love
Who wouldn't stand inside your love
Protected and the lover of
A pure soul and beautiful you
Don't understand
Don't feel me now
I will breathe
For the both of us
Travel the world
Traverse the skies
Your home is here
Within my heart
And for the first time
I feel as though I am reborn
In my mind
Recast as child and mystic sage
Who wouldn't be the one you love
Who wouldn't stand inside your love
And for the first time
I'm telling you how much I need and bleed for
Your every move and waking sound
In my time
I'll wrap my wire around your heart and your mind
You're mine forever now
Who wouldn't be the one you love and live for
Who wouldn't stand inside your love and die for
Who wouldn't be the one you love
La marée est haute, le soleil est sur le déclin. Les bateaux, l'un après l'autre rentrent au port. Le rituel semble immuable. Venant du nord, ils s'enroulent à peine autour du phare et se laissent porter jusqu'à la digue opposée. Baisser les gaz à l'entrée du port. Emporté par son élan, le nez du bateau s'enfonce doucement dans l'eau. Soulevé par cette vague, il semble soudain comme en apesanteur. Oubliés le poids du navire, des machines. Se peut-il qu'il se transforme finalement en albatros ? Bien trop vite, le capitaine nous ramène à la raison. Le bateau reprend son rythme et s'enfonce doucement dans les profondeurs du port de Fécamp.
A son bord les hommes ont hâte de rentrer. La journée a été froide. De ce froid pressant qui s'insinue sous les cirés. De ce froid qui n'autorise pas le moindre confort, qui ne vous lâche plus une fois qu'il vous a pris, qui, malgré les efforts, ne vous laisse pas de doute. Il aura toujours raison.
Aujourd'hui, la mer était calme.
--- English translation with the help of deepl.com ---
The tide is high, the sun is on the decline. The ships, one after the other, return to the harbor. The ritual seems immutable. Coming from the north, they barely wrap themselves around the lighthouse and let themselves be carried to the opposite dike. Lower the throttle at the entrance to the harbor. Carried away by its momentum, the boat's nose gently sinks into the water. Raised by this wave, it suddenly seems like weightlessness. Forget the weight of the ship, the machines. Can it be that she finally transforms herself into an albatross? Far too quickly, the captain brings us back to reason. The boat resumed its rhythm and slowly sinks into the depths of the port of Fécamp.
On board, the men are eager to return. It's been a cold day. From this pressing cold that creeps in under the oilskins. This cold weather that does not allow the slightest comfort, that does not let you go once it has taken you, that, despite all the efforts, does not leave you in any doubt. It will always win.
Today, the sea was calm.