The {Sub-textual} Image Underground
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Tras las luces de la calle,
centellas celestiales urbanas,
estrellas estelares,
que inundan de claridad las almas,
se desprende tu contorno admirable,
que crece cual figura gigante, dilatada.
Implìcito en tì, en tus ademanes,
que define y expone al artista,
se presenta tu arte, sensato y penetrante
que inunda fecundo al estilista.
Artista de mis calles ciudadanas
que guapeas a la vida temerario,
insòlito mirar de cosas vanas
que rodean mi destino solitario,
artista de mis calles citadinas,
siempre alegras mi presente rutinario.
Muchas gracias a tod@s por vuestros comentarios y favoritos. Saludos
The Gerbera daisy Legend says that the daisy originated from a nymph who transformed herself into a charming but unassuming wildflower to escape unwanted attention. Since then, this April birth flower has had the flower meaning of implicitly and modesty.
These awesome flowers are a genus of ornamental plant from the Sunflowers, Daisies and Aster’s family “Asteraceae”. {It] is a native from Transvaal, South Africa, where it grows in full sun. It was named in honor of the German naturalist Traugott Gerber in 1743. [...].
Gerberas come in a wide range of colors, bicolor and tricolors… almost every color except blue. They often measure 17-18cm across and can be colored light to dark yellow, orange, pink, brilliant scarlet and deep red.
From my Archives
Y buen humor...
“Al mal tiempo, buena cara” es un refrán o dicho popular según el cual cuando las cosas van mal o se complican, lo más conveniente es enfrentarlas con la mejor actitud.
En su sentido literal, se puede interpretar que cuando hay mal tiempo atmosférico, lo mejor es mostrar una cara sonriente o plácida para evitar que el estado del clima nos arruine el día.
Gira en torno a la idea de la conformidad o el temple ante la adversidad. Así, pues, aconseja mantener una buena disposición, a no desanimarse ni desmoralizarse cuando las cosas se tornan difíciles o confusas.
En este sentido, el refrán llama a tener, ante todo, optimismo y esperanza, pues con buena actitud podemos transformar las desdichas en situaciones favorables. Tiene, pues, un mensaje optimista implícito.
La actitud es fundamental en la forma en que enfrentamos las situaciones de la vida, sobre todo aquellas que son decepcionantes o especialmente difíciles.
L'artiste est ce professionnel de la transformation de l'implicite en explicite, de l'objectivation, qui transforme le goût en objet, qui réalise le potentiel, c'est-à-dire ce sens pratique du beau qui ne peut se connaitre qu'en se réalisant.
Questions de sociologie - Pierre Bourdieu
Beaucoup de difficulté pour faire ce montage .
Comme tous mes montages précédents; les prises de vues n'ont pas été faites dans le but de réaliser un montage : ( donc angle de prise de vues et focale variable) .
Mais je souhaitais déposer ces photos sur Flickr sans pour autant me répéter.
Merci pour vos visites et bon week-end.
Very difficult to do this assembly.
Like all my previous arrangements; the shots were not made in order to achieve a mounting (therefore angle shooting and varifocal).
But I wanted to drop on Flickr without repeating myself.
Thank you for your visits and good weekend.
The Baroque Garden is not the Castle’s only garden. To the left of the Baroque Garden is the romantic, English-style garden, where the small Bath House Castle is also located. With its small lakes and shrubberies the Romantic Garden was created to convey moods and present the beauty of nature.
A landscape garden with meandering paths, canals and lakes was laid out by Frederik VII (1848-63) in the Indelukket enclosure and Lille Dyrehave woods around the Badstueslottet castle, built by Frederik II.
On a small island in the Ødam pond, the king built a miniature version of a Norwegian manor, and this became a favourite place for the royal couple.
By contrast, the straight lines and sharp angles of the Baroque Garden display the beauty implicit in mankind’s control of nature.
Cudillero. Asturias. España.
Pulsa L y F11 y disfruta // Click L and F11 and enjoy
Mil gracias por pasar a ver mis fotos y un millón por comentar.
Thanks for looking my pictures and thank you for your comments
©Reservados todos los derechos. No se permite el uso, reproducción o duplicación incluyendo electrónico sin el consentimiento por escrito.
All rights reserved. No use, reproduction or duplication including electronic is allowed without written consent.
Blueberries
by James Lasdun
I’m talking to you old man.
Listen to me as you step inside this garden
to fill a breakfast bowl with blueberries
ripened on the bushes I’m planting now,
twenty years back from where you’re standing.
It’s strictly a long-term project—first year
pull off the blossoms before they open,
second year let them flower, watch the bees
bobbing in every bonnet,
but don’t touch the fruit till year three,
and then only sample a handful or two . . .
Old man I’m doing this for you!
You know what they say about blueberries:
blood-cleansing, mood-lifting memory-boosters;
every bush a little fountain of youth
sparkling with flavonoids, anthocyanin . . .
I’ve spent all summer clearing brush
sawing locust poles for the frames,
digging in mounds of pine needles, bales of peat moss—
I thought I’d do it while I still could.
You can do something for me in turn:
think about the things an old man should;
things I’ve shied away from, last things.
Care about them only don’t care too
(you’ll know better than I do what I mean
or what I couldn’t say, but meant).
Reconcile, forgive, repent,
but don’t go soft on me; keep the faith,
our infidels’ implicit vow:
“not the hereafter but the here and now . . . ”
Weigh your heart against the feather of truth
as the Egyptians did, and purge its sin,
but for your own sake, not your soul’s.
And since the only certain
eternity’s the one that stretches backward,
look for it here inside this garden:
Blueray, Bluecrop, Bluetta, Hardy Blue;
little fat droplets of transubstantiate sky,
each in its yeast-misted wineskin, chilled in dew.
This was your labor, these are the fruits thereof.
Fill up your bowl old man and bring them in.
I searched a poem about blueberries and found this one. It touched me in a way and I wanna share it with you... a wonderful day to you all :-)
A house front in Bangkok with windows shimmering in different colours takes up the whole picture. There is no middle or background. Instead, the sun is reflected in the glass-metal window front, which places the viewer in the middle between the sun and the image plane, thus creating a depth, even if only implicitly.
The Basilica of the National Vow presents two types of anthropomorphic figures: gargoyles and acroteros. On the one hand, gargoyles are one of the main hallmarks of the Basilica, but which in turn maintain a direct relationship with the time they were conceived. They are located on the upper sides of the central nave and constitute the unprecedented contribution to the neo-Gothic style by Ecuador. This is because the animals that decorate the temple are not only mythological (like those of European temples), but are a sample of Ecuadorian endemic and exotic fauna. Thus, you can find alligators, Galapagos turtles, blue-footed boobies, armadillos, howler monkeys, pumas, among others.
Acroteros, on the other hand, differ from the previous ones because in addition to being decorative gargoyles have the function of serving as a boot-waters, while acroteros serve exclusively to decorate. It is also important to state that both anthropomorphic figures have an implicit assessment of helping to frighten evil spirits, a belief that originates in the Middle Ages and can be seen in every Gothic construction.
I submitted this and three other works to the 34th Visual Arts Alliance Jutied Membershipo Exhibition, which opens on Wednesday next. This one didn't make it, but I've added the two that did--each posted previously--in the comments below. Each was digitally remixed from a single exposure of a drab concrete floor in an art space repurposed from an earlier industrial use. The colors are strongly enhanced, but were already implicit in the uneven lighting at the scene. With a little exploration, art can emerge from a post-industrial environment.
The title recalls Walt Whitman's elegy for Abraham Lincoln, although truncating it to just 3 words allows a more hopeful interpretation. The image reminds me of a garden in raking light, either dawn or twilight. My wife thinks it looks more like a birch tree on a lake shore. Happy for you to find your preferred interpretation.
_2717p
you can fiddle with the picture afterwards you can develop it. But we implicitly know that there had to be something infront of that camera and so we tend to believe it since we tend to believe our eyes.
Vicki Goldberg
HFF!! Science Matters!
zinnia, little theater garden, raleigh, north carolina
Positive and negative, implicit and explicit, foreground and background, partial and complete triangles with a ternary--adjacent complementary--palette, for the #FlickrFriday #Triangle theme. Happy Flickr Friday!
15 July 2022; 17:20 CDT; Provia
Explore 16 July; no142
Your hand was a weapon
Within a sturdy cross
A blue study transformed as if
Matisse had turned violent in a fit of passion
We felt the building might be condemned
There were notices on pieces of flimsy paper
Exteriors made by humans were now crumbling
And still there was that implicit threat
An outstretched hand transformed with a weapon
I said to Jesus
“I’ve given up. Stop! You’ve tangled my emotions!”
God has all of the answers and leaves us with only questions
And the feeling of helplessness.
I’ve given up on waiting any longer.
Whatever you’re looking for…..
Don’t come around here no more.
This poem references the song by Tom Petty:
www.youtube.com/watch?v=h0JvF9vpqx8
**All photos are copyrighted**
Las dalias amarillas representan la fidelidad, es una promesa implícita de amor leal y eterno, a pesar de haber tenido en el pasado una conducta reprochable.
In the period of preparation the soul loves in emptiness. It does not know whether anything real answers its love. It may believe that it knows, but to believe is not to know. Such a belief does not help. The soul knows for certain only that it is hungry. The important thing is that it announces its hunger by crying. A child does not stop crying if we suggest to it that perhaps there is no bread. It goes on crying just the same. The danger is not lest the soul should doubt whether there is any bread, but lest, by a lie, it should persuade itself that it is not hungry. It can only persuade itself of this by lying, for the reality of its hunger is not a belief, it is a certainty.
-Simone Weil, “Forms of the Implicit Love of God,” an essay written in April of 1942.
Maybe this is true of every one of us. To know and love someone is more than to grasp facts about them, or recognize their qualities. It is more than assenting to the identity that they claim, their self-image. It is to have some glimpse of the journey on which they are embarking, the hunger and thirst that are in their heart, how they are on the pilgrimage towards the fullness of being in God. We are all touched surely, implicitly or explicitly, by some yearning for infinity and who we are is disclosed most deeply in how we seek it, whether through marriage or art or writing poetry, our job or just loving the people we bump into day by day.
--Questioning God, Timothy Radcliffe and Lukasz Popco
Dalla frase di Oscar Wilde questo fortunatissimo momento di colore e bellezza, ma mentre chi vede raccoglie la sensazione che il colore può ingannevolmente portare, come pensava Oscar Wilde pur essendo considerato un Dandy, questa frase che parrebbe un elogio alla moda sicuramente creava volontariamente un fraintendimento in quanto lui al contrario disprezzava la moda e credo non volesse far parte di nulla che avesse a che fare o che legasse implicitamente qualsiasi pensiero che derivasse da ella. Lo sguardo quasi annoiato sembrerebbe lasciar pensare che dietro a tutta questa bellezza ed eleganza si possa nascondere il buio dell'animo umano capace di trasparire ogni qual volta venga a trovarsi in seno a bellezze effimere e caduche legate solamente a quello che puoi avere se te lo puoi permettere dimenticando che la bellezza non la puoi comprare e non la puoi vedere se non sai che è in te e in ogni persona.
Galleria Vittorio Emanuele - II Milano
La unificación a 3000 voltios de la red catalana, ha obligado a pasar por el taller a esta veterana. Lo que hubiese supuesto el fin para cualquier otra, es en este caso un reconocimiento implícito a su buen hacer. Y es que no hay rampa ni pendiente que se le resista.
De vuelta a casa y desviándose un poco de su camino, le ha tocado ir a echar una mano a una de las nuevas Alsthom. Las 18 milésimas hasta Pradell serán un juego de niños.
GRACIAS, APPFI.
When you once started to post your pictures on a public space like Flickr (or any another service of this sort), your probably have in mind some criteria about what is worth posting. What is a good image ? How to make the difference between what's for the trash bin and your photostream ?
Most of the time, it's not difficult to answer these questions : you just have to look at the images and notice the effect it creates on you sensitivity. The difficulty begins when you have to justify your choice : what are the implicit and effective rules leading you to like or dislike a picture ? Of course, there's plenty of criteria. Some are really technical: is the rule of third respected ? is the subject properly lighted ? and so on. However, we all know that if these technical criterion are important, they are at best a first step to a good picture. Something more - which is not that easy to explain - is needed to get something that creates a real effect.
One of the criteria I started to follow when I got more and more seriously into photography is - I think - interesting because it's quite paradoxical. I personally think that all the pictures I really like (among the ones I took and the ones took by others) look as if they were taken in a fictional world, or at least not in the real world. In other words, if the picture smells too much of the boring reality of everyday life (with it's objects, poor light, colors, etc), I tend to consider them as esthetically defective. A good picture has to carry with it a world of its own which could be totally independent. I am not saying that this fictional world have to be "fantastic" or totally different than the real one. It could be "realistic". For example, a good street photo looks like it was taken in a real street. However, such picture would create the impression than the New York, London, or any city street on the picture is maybe not the real one. It's like a movie taking place in a real city : it's a real and an unreal space at the same time.
This idea can sounds a little bit strange when we consider the fact that photography IS the art of capturing the objective reality. Whatever the picture you take, it represent always a part of reality (I am not speaking of these 100% Photoshop creations. I am not a big fan). However, the art is precisely to take reality with some angles, light, colors, etc. that will create an impression of strangeness. It stops us in our life and make us thinking : "I never thought that a flower, a street, a landscape, a man, a woman, could look like that in my everyday world". If this criteria is not reached, if a picture is just the capture of a minute boring visual perception, then we are probably justified to say that it doesn't work.
Of course, most of the pictures we take cannot create this effect (it’s probably like a 1 / 1000 ratio). Most of the pictures of your parents and friends holidays cannot create this effect. That is why it's sometimes quite boring to watch them : it is so obvious that these places are real places! It is so visible that the reality is better than the picture ! How can such an image create a real emotion ? The only reasonable thing to do would be to go there by yourself : this kind of picture can't give you any hint of the emotion you could feel if you were there.
However, sometime, we successfully catch an image that has this "little thing" that changes everything and makes it potentially interesting for people who do not know you and have no interest in coming at the exact place where you took the picture. What makes the difference is often some very little details : the absence of a distracting object in the background that would recall too aggressively the reality, some blur at the right place, etc. The fictionality of a picture is quite fragile, that's why it is so difficult to get it.
I am now used to go at the Creux-du-Van to shoot the sunrise. I am always happy to do so. As always, I took a lot of images, trying new things. I also tried to recreate an image I already had (and already posted on Flickr). I had a precise idea in mind, I had my frame, my angle, and so on. However, I don't know exactly why, I try the same setting but I unzoomed at 10mm : then this frame of trees one the left and upper border appear and I realized that with the sun on the leafs, the roots and on this little pathway it looked quite magical. The only fact of passing from 14 to 10mm had - in my opinion - changed the picture and created the "unreal effect" : this could happen in a fairytale, this could be a magic tree in an enchanted forest. I spent two hours more after the sunrise on the place, taking panoramas and a lot of others "nice" pictures (I was secretly hoping to get something else that could create such an impression). But I knew the only worth posting picture would be this one ...
This picture was explored on the 26th of June 2016. Thank you !
Hay que distinguir la diferencia entre querer y amar.
El concepto querer lleva implícita la idea de posesión. Te quiero para algo, para que estés conmigo, para que me acompañes, para que compartas alguna actividad, etc.
A fin de cuentas, los seres queridos son seres de los que se espera algunos comportamientos que nos causen satisfacción.
Querer es, generalmente, causa de sufrimiento. Si quiero a alguien, tengo expectativas, espero algo. Si la otra persona no me da lo que espero, sufro. El problema es que hay una mayor probabilidad que la otra persona tenga otras motivaciones, pues todos somos muy diferentes entre sí.
Cada ser humano es un universo.
Amar es desear lo mejor para el otro, aún cuando éste tenga otras motivaciones muy distintas. Amar es permitir que seas feliz, aún cuando tu camino sea diferente al mío. Es un sentimiento altruista y desinteresado. Por esto, el amor nunca será causa de sufrimiento.
Cuando una persona dice que ha sufrido por amor, en realidad ha sufrido por querer, no por amar. Se sufre por apegos. Si realmente se ama, no puede sufrir, pues nada ha esperado del otro. Cuando amamos nos entregamos sin pedir nada a cambio, se da por el simple y puro placer de dar.
Amar produce un gozo profundo. Es la alegría de dar. La única manera de darse cuenta de esto es empezar a aprender a amar. Se puede comenzar por actos pequeños, con las personas a quienes más queremos. Luego, debe extenderse a todas las personas, en todo momento.
“Es difícil encontrar que alguien me ame. Es más fácil encontrar que alguien me quiera para algo, mientras sea necesario y útil para alguien. Pero son pocas las personas que dan amor altruista y desinteresado.”
Pero si bien es difícil encontrar a alguien que me ame, tenemos más de seis mil millones de personas, en todo el mundo, que necesitan amor. Y la mayor felicidad no está en ser amado, sino en la acción de amar al otro.
De modo que nuestra felicidad y gozo está asegurado si dejamos nuestro egoísmo. Seguro que a nuestro alrededor hay cientos de personas que serán felices cuando compartamos con ella nuestro amor. Y no hay problema al darlo: dar amor no agota el amor, por el contrario, lo aumenta.
athens, 1970s sculpture in hotel. it was tiny but attractive with those deep shadows and its implicit references to athena nike. for more images in the eclectic series click here
“This is quite the season indeed for friendly meetings. At Christmas, everybody invites their friends about them, and people think little of even the worst weather. I was snowed up at a friend’s house once for a week. Nothing could be pleasanter.“ – Jane Austen, Emma
*
Jane Austen (16 December 1775 – 18 July 1817) was an English novelist known primarily for her six novels, which implicitly interpret, critique, and comment upon the British landed gentry at the end of the 18th century. Austen's plots often explore the dependence of women on marriage for the pursuit of favourable social standing and economic security. Her works are an implicit critique of the novels of sensibility of the second half of the 18th century and are part of the transition to 19th-century literary realism. Her deft use of social commentary, realism and biting irony have earned her acclaim among critics and scholars.
*
maps.secondlife.com/secondlife/Caracus%20Island/81/157/28
Witherwood Thicket
www.flickr.com/groups/frogmore/
Frogmore
La planta se llama comúnmente: Espina de Cristo (Euphorbia splendens). La mía florece todo el año, y es muy agradecida. Ver más: / The plant is commonly called: Thorn of Christ (Euphorbia splendens). Mine bloom all year, and is very grateful. View more:
club.telepolis.com/mrpotato/PlantasW/Principal.htm?/mrpot...
At the end of the 11th century the Normans extended their conquest of England into Wales and Pembroke Castle became the centre of Norman rule in South Pembrokeshire. Gerald de Windsor was constable of the Castle on behalf of Henry I when he decided to build his own fortification on the Carew River, some ten miles up the tidal waterway from Pembroke.
This was not the first settlement on the site however. Excavation has revealed an Iron Age settlement. A substantial five ditched promontory fort has been unearthed, together with large quantities of Roman pottery. A Dark Age settlement or fort may also have existed on the site. Gerald's fortification was probably built of earth and wooden stakes. This fortification was later replaced by a stone Castle.
Much of what remains of Carew Castle today was the work of Sir Nicholas de Carew (who died in 1311), who was responsible in particular for the east and west ranges.
In the late fifteenth century the Castle was greatly improved and extended by a very colourful character, Sir Rhys ap Thomas (1449-1525). He altered both the east and west ranges, and was responsible for many of the Bath stone windows and other features. Gaining the implicit trust of both Henry VII and Henry VIII he was said 'to rule this corner of Wales like a King'. The final development took Carew from Medieval fortress to Elizabethan manor. Sir John Perrot (1530-1592) built the great northern range, with its huge windows overlooking the Millpond. However he was not destined to enjoy his magnificent new home, for he died in the Tower of London before the work could be completed.
During the Civil War the Castle was owned by Sir George Carew who declared for the King, but it was garrisoned at different times by both royalists and parliamentarians, and indeed changed hands four times, on at least one occasion following a fierce assault. Buildings on the south side, including the kitchens, were slighted to prevent the enemy making further use of the site. Following the Civil War the Castle was occupied for some years, but eventually abandoned in 1686.
www.flickriver.com/photos/jimborobbo/popular-interesting/
© Jim Roberts Gallery
Thank you for looking at my photographs and for any comments it is much appreciated
All my photos and images are copyrighted to me although you are welcome to use them for non commercial purposes as long as you give credit to myself.
A monk helps a woman preform penance. This was taken at Angkor Wat in Cambodia, on a sweltering day, so being doused with water would not be the worst thing in the world. Angkor is, perhaps, the most extraordinary ancient site in all of Asia (there are more pictures of it to come), but it is also overwhelmed by tourists. We had just come from the grandest of the temples, Angkor Wat itself, and had bought fresh green coconuts to get re-hydrated. Behind the souvenir and snack stalls was this small local temple, where village life was going on unaffected by, and unknown to, the millions of foreigners all around it.
I like this image because of the story implicit in it. There is a power and gender and cultural dynamic at play that is challenging to the viewer. I like the water splashing off the steps, and I find intriguing the woman standing in the shadows. To me she personifies judgement, the need to maintain the status quo by making sure her own rigid morality is maintained.
For more blogs, please visit my website:http://kebeandfast.com/blog/
Una belleza implícita en la casi marchita flor, un adios a algo que fue, extiende un potente bálsamo que hechiza y aplaca el espíritu fatigado.
Con la Pluma m´abro paso. Luis "Vive (s)"
A part of the Autumn 2017 Collection called "Call & Response" at Wave Hill's Glyndor House, I was immediately attracted to this "story box" by Tammy Nguyen because it reminded me of a Renaissance triptych.
The sculpture and painting combination was actually inspired by two practices that are far different. One is "Cabinets of Curiosity" that originated in England and contained collections of small objects relating to natural history. The other is a custom which originated in India, "Kavad Box" are three-dimensional story boxes that depict narratives and are activated by a storyteller.
While I was in Renaissance triptych mode It never dawned on me that the small book marked "Book of Saints" was supposed to be opened and read. I later learned the the book contains a list of plants that U.S. Customs has deemed may enter and exit our borders without inspection.
In fact the art is about U.S. immigration and the colonialism implicit in our understanding of natural history. Tammy Nguyen wrote "a script to be performed for storytelling, describing the plants as a tribe of nationless organisms free to travel and reside anywhere."
The Ford flathead V8 (often called simply the Ford flathead, flathead Ford, or flatty when the context is implicit, such as in hot-rodding) is a V8 engine of the valve-in-block type designed by the Ford Motor Company and built by Ford and various licensees. During the engine's first decade of production, when overhead-valve engines were rare, it was usually known simply as the Ford V‑8, and the first car model in which it was installed, the Model 18, was (and still is) often called simply the "Ford V‑8", after its new engine. Although the V8 configuration was not new when the Ford V8 was introduced in 1932, the latter was a market first in the respect that it made an 8-cylinder affordable and a V engine affordable to the emerging mass market consumer for the first time. It was the first independently designed and built V8 engine produced by Ford for mass production, and it ranks as one of the company's most important developments. A fascination with ever-more-powerful engines was perhaps the most salient aspect of the American car and truck market for a half century, from 1923 until 1973. The engine was intended to be used for big passenger cars and trucks; it was installed in such (with minor, incremental changes) until 1953, making the engine's 21-year production run for the U.S. consumer market longer than the 19-year run of the Ford Model T engine for that market. The engine was on Ward's list of the 10 best engines of the 20th century. It was a staple of hot rodders in the 1950s, and it remains famous in the classic car hobbies even today, despite the huge variety of other popular V8s that followed.
A Faithful Dog Will Play With You
And Laugh With You -Or Cry-
He'll Gladly Starve To Stay With You
Nor Ever Reason Why,
And When You're Feeling Out Of Sorts
Somehow He'll Understand
He'll Watch You With His Shining Eyes
And Try To Lick Your Hand.
His Blind, Implicit Faith In You
Is Matched By His Great Love -
The Kind That All Of Us Should Have
In The Master, Up Above.
When Everything Is Said And Done
I Guess This Isn't Odd
For When You Spell "Dog" Backwards
You Get The Name Of God.
(author unknown)
One of the working dogs at Pencarrow Lodge near Wellington, New Zealand
This is for my friend Jan (Jan 130) with best wishes for her beautiful dog Zak
Own photo processed with DDG and Topaz
~~~ Thank you all for viewing, kind comments, favs and awards - much appreciated! ~~~
A finely balanced load of maize, or millet or sorghum makes its precarious way from the fields to the storage site. The ubiquitous three-wheeler is not the most stable of platforms, so the man riding up top obviously has implicit faith in his chauffeur.
Nei Mongol, China. October 2004. © David Hill
The faith exercised in prayer is faith in the God who sovereignly accomplishes His will. When we pray, our faith recognizes, explicitly or implicitly, the overruling providential purposes of God. We may at times be given insight into that will, enabling us to pray with absolute confidence in God’s plan to answer as we ask. But surely those cases are rare – more rare even than our subjective, emotional desires would lead us to suspect. - Douglas Moo
El cultivo del olivo lleva implícita una cultura milenaria llena de luces y sombras, como cualquier otra cultura.
La diferencia estriba en que se trata de nuestra propia cultura, en la que hay que conservar lo aprendido, pero también evolucionar de forma equilibrada entre las nuevas tecnologías y el respeto al medio ambiente.
Nuestro futuro depende de ello.
"Cuantos siglos de aceitunas
los pies y las manos presos,
sol a sol y luna a luna
pesan sobre vuestros huesos..."
Miguel Hernández.
On the main facade, towards Carchi Street, you can see a sculpture of the Virgin Mary and another of Pope John Paul II.6 In addition to the decorated doors, the rose window interrelated with the altar and El Panecillo, and the pinnacles found also throughout the exterior structure.
Most of the sculptures that adorn the niches of the facades have not yet been placed, and after carefully studying the original plans, it is estimated that finishing the 230 effigies would be worth more than two million dollars. In the original plans, figures of saints and important figures of the political, social, military and religious life of the country are used, thus enhancing Ecuadorian history. These images include characters from the time of the Spanish conquest, taking into consideration indigenous, artists, religious, poets, scientists and politicians; indicative of a common struggle for the ideal of the homeland.
On the western and eastern facades there are 24 circles, mostly empty at the moment, which serve to place shields of all American nations, with Colombia's most recent (by 2015) thanks to a donation from the Government of that country. Likewise, a place is designated in which the flags of the different countries will be raised, this with a pan-American and union motive that the world currently has.
Going to the Gothic style, the main façade of the National Vote is made up of tall towers, which in the original plans had to reach 105 meters high, but after some technical studies, related to forecasts of telluric phenomena mainly, it was agreed to lower the height only at 78.23 meters. In the middle part of the towers there is a space designed to house a small museum and a cafeteria with a viewpoint, which is accessed by an elevator to the third level, and then by a narrow staircase.
The tallest tower, known as the "Tower of the Condors", which is 115 meters high, and instead of gargoyles it has only condors, since they need at least this height to be able to fly in. This detail is highly representative , since the condor is the national bird of Ecuador and is crowning its national shield, just like this temple crowns. At the highest point of the main tower you can see most of the city and the mountains that surround it.
The Basilica contains in its two main towers a set of bronze bells, the largest weighing 8 quintals, the next 4, 3 and 2 quintals. They also present a clock, consisting of six spheres, three in each tower, which have a diameter of 4.3 m, allowing good visibility from anywhere in the city. The bell tower thus fulfills its sense of dominance even over all the existing churches in the city.
The main door of the Basilica is made of wood with an embossed brass lining, showing scenes from the life of Jesus, the Creation that includes Adam and Eve and a scene that shows the indigenous people upon the arrival of the Spaniards, who impose a doctrine, accepting as a real, important and valid fact the taking of a new religion, devaluing the existing one. Most of the rest of the building's doors are made of carved wood and maintain the typical ogival shape of French Gothic. Many contain representations of the sun and other stars.
Gargoyles of the Basilica of Quito, shaped like iguanas.
The Basilica of the National Vote presents two types of anthropomorphic figures: gargoyles and acroteros. On the one hand, gargoyles are one of the main hallmarks of the Basilica, but which in turn maintain a direct relationship with the time they were conceived. They are located on the upper sides of the central nave and constitute the unprecedented contribution to the neo-Gothic style by Ecuador. This is because the animals that decorate the temple are not only mythological (like those of European temples), but are a sample of Ecuadorian endemic and exotic fauna. Thus, you can find alligators, Galapagos turtles, blue-footed boobies, armadillos, howler monkeys, pumas, among others.
Acroteros, on the other hand, differ from the previous ones because, in addition to being decorative, gargoyles have the function of serving as a boot-water, while acroteros serve exclusively to decorate. It is also important to state that both anthropomorphic figures have an assessment implicit in helping to frighten evil spirits, a belief that originates in the Middle Ages and can be seen in every Gothic construction.
May have been Fouquet. . The rich never change. There is shame implicit in not wanting to see servants. Guilt is too strong a word. With robots the problem goes away until AI takes over
After several bone numbing months photographing this beautiful male snowy owl, the time came for the money shot. He trusted me implicitly, as some of these extraordinarily intelligent birds are wont to do if treated with the absolute respect they deserve. I slowly crawled many meters on my belly across the densely drifted snow to the ideal position at the exact preordained time. As the sun dropped behind a neighboring woodlot, I pressed my face into the frigid snow, focused and squeezed the shutter...
Implicit fragrance
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2020. 05. 30
Stacy, my son & myself took trip to Costa Rica this spring. Stacy arranged for our rooms and the car. He travels a lot and had about a million hotel points. So, he used 240,000 of them and booked us into the Intercontinental Hotel in San Jose. Beautiful place to stay. Crazy trying to drive there. Stacy said, it was a lot like Paris, but, not nearly as bad as Italy. No, way would I try to drive through San Jose. They all drive like they have a suicide wish. GPS is nearly useless. I probably should have taken Jan Boer up on his invitation to guide me around, but, with Stacy doing the driving I wasn’t sure how that would work. So, I decided to pass. We did have a good time, but, it didn’t live up to my expectations. Might have been the wrong time of year. We did day trips out of San Jose. Flew into Liberia stayed one night and headed for San Jose. At least we thought we were. Stacy programed the GPS to take us to the Intercontinental Hotel and we were off. Several hours later we saw hundreds of semi trucks parked along the side of the road. People were selling food to the truckers. We saw people riding bicycles with diesel pumps. We couldn’t figure out what the heck was going on. Then a fellow waved us over and told us to park. I told Stace, “I think we are in Nicaragua”! He said, “No way! The guy asked for our Passports and told Stace to follow him. I started to get out and was told to stay in the car. About 10 minutes later Stace came out and said, “Yes we crossed into Nicaragua and had to pay an "entry fee”. We told the guy it was a simple mistake and we would just turn around and leave. But, no! he had us pull across the road to another big open area and park. Once again he wanted our Passports. About, then I was starting to think of that TV program “Locked Up Abroad”! So, we set there for awhile and when he came back he brought a “big friend" with him. He told us, we had to pay a "departure fee" in order to leave. So, we paid it. Then he wanted a tip! Stace offered him some Costa Rican Colons. But, No! He wanted U.S. dollars! So, after about $80.00 out of our pocket we started backtracking and decided not to trust to GPS implicitly. The GPS led us astray several other times. Finding our way around was quite interesting. We saw a lot of the back streets of San Jose, (some pretty bad areas) till Stace figured that he had it set to avoid toll roads and find the shortest route.
Once, it led us to a dead end road 20 miles out in the middle of no where.
The semi trucks were waiting for the entry into Nicaragua’s border crossing.
So, Jan, we probably should have said Yes! to your offer.
But, live and learn!
Camera Settings: f/4 - 1/320 - 280mm - ISO 320
Please view large.
Villa dei Quintili - Roma
Tre erme del II secolo d.C. che provengono da diverse aree della villa. Le erme erano costituite da un alto sostegno in pietra sul quale era scolpita la testa di una divinità. Nell’erma che è al centro vediamo raffigurato il dio Hermes (il latino Mercurio), il dio dell’interpretazione. Il nome proprio Hermes ha la stessa radice del verbo greco ‘ermeneuo’ che significa ‘interpretare’ da cui viene la parola moderna ermeneutica, la scienza dell’interpretazione. Hermes è il messaggero degli dèi, colui che si fa interprete delle loro parole, delle loro volontà. Il problema che viene posto implicitamente dalla figura di Hermes è importantissimo: come è possibile sapere qual è il pensiero degli dèi? Siccome non è possibile conoscere il ‘mistero’ degli dèi, c’è bisogno di un dio che venga a spiegarlo.
(da www.gliscritti.it/approf/2008/conferenze/quintili/quintil... )