The {Sub-textual} Image Underground
View allAll Photos Tagged Implicit
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
En los gobiernos aristocráticos los hombres que llegan a los asuntos públicos son gentes ricas que no desean sino el poder. En las democracias, los hombres de Estado son pobres y su fortuna está por hacer.
De ello se deduce que en los Estados aristocráticos los gobernantes son poco accesibles a la corrupción y su afán de dinero es muy moderado, mientras que en los pueblos democráticos sucede lo contrario.
(...) Así, si los hombres que dirigen las aristocracias intentan a veces la corrupción, los jefes de las democracias son ellos mismos los corrompidos. En unas se ataca directamente la moralidad del pueblo; en las otras se ejerce sobre la conciencia pública una acción indirecta aún más de temer.
Lo que hay que temer, por otra parte, no es tanto la visión de la inmoralidad de los grandes como la inmoralidad que conduce a la grandeza. En la democracia, los simples ciudadanos ven a un hombre salir de sus filas y alcanzar en pocos años riqueza y poder; este espectáculo suscita en ellos sorpresa y envidia, y tratan de averiguar cómo el que ayer era su igual está hoy revestido del derecho de mandarles. Atribuir su elevación a su talento o a sus virtudes es incómodo, pues es confesar implícitamente que ellos son menos virtuosos o menos hábiles que él. Achacan, pues, la causa principal a alguno de sus vicios, y a menudo con razón. Se opera así no sé qué odiosa mezcolanza de ideas de bajeza y de poder, de indignidad y de éxito, de utilidad y de deshonor.
(La democracia en América, parte I, págs. 321, 322 y 323) Alexis de Tocqueville
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
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.
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.
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 :-)
Ce à partir de quoi le Dasein comprend implicitement en général quelque chose comme l'être est le temps.
Martin Heidegger
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.
Great word, isn't it? Just rolls off the tongue. While its use might admittedly fall under the heading of pretentious for those very few who might somehow know its meaning, it remains a tragedy what is happening to our language and the ever increasing disdain and lack of concern for vocabulary. Do the schools still teach it? Do standardized tests still recognize excellence in it? Or have we become so "woke" that the only things that matter are recognition of our "unconscious or implicit racial bias" or that gender is something that can be chosen by our children from 70+ options. I think we all know the answer to that.
The one word that our present culture wildly accepts and inappropriately and indiscriminately uses begins with "f" and was, above all others, taboo when I was young. Is this a sign of an advancing culture or one in decline? A rhetorical question, but I, for one, still cringe when I hear it. As our language coarsens, so does our civility. In a time of equal parts tragedy and nonsense, it's truly a shame to see all our cultural norms and mores decline so quickly.
And from what I understand defines being "woke," count me as soundly asleep.
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.
________________________________________________
Behind the Scenes
Is it your face
that adorns the garden?
Is it your fragrance
that intoxicates this garden?
Is it your spirit
that has made this brook
a river of wine?
Hundreds have looked for you
and died searching
in this garden
where you hide behind the scenes.
But this pain is not for those
who come as lovers.
You are easy to find here.
You are in the breeze
and in this river of wine.
“La Feminque Desiree” by its namesake embodies the essence of sexual possession.
The name Desiree is a girl's name of French origin meaning "desired, wished". La Feminique Desiree is thus implicit of a woman who becomes the object of desire for a man. She is both mysterious and sensual in truest surrealist spirit - his ultimate sexual fantasy underscored by the passionate quest to possess her.
It’s beautiful shrug top teasingly reveals the underbust. The sensuous shorts’ scantily side-tied appearance begs to be explored. Combined, these sexy pieces illicit nothing short of pure sexual empowerment. I think that Jenny should have sewn a warning label into this gorgeous, sensual, and sexy outfit.
This La Feminque Desiree outfit is exclusively available at this month's Swank Events which is celebrating its 7 Year Anniversary.
Landmark:
Some people enter your life for no reason at all and become the one person you know and trust implicitly. My Sis Sneeky is this person. Neither of us ever had "family" in SL until we met. I respect her, and cherish our friendship. The past 3 years have been tough on friendships in SL, but she stood by me.
Here is to Family! ♥Love you Sis always ♥
✈️ : Luanes World Winter
Hey girl, it's me, just called to tell you hi
Call me when you get this
Haven't talked lately, so hard to find the time
Give the boys a big kiss
Tell them that I miss them
By the way, I miss you too
I was thinking just today
About how we used to play
Barbie dolls and makeup
Tea Parties, dress up
I remember how we'd fight
And make up and laugh all night
Wish we were kids again
My sister, my friend
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**
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
No ghosts or doppelgangers here. Just some reflections. I'm referring to the shot I put up yesterday where the focus was on this person's hand and mobile device.
In this follow up shot, which I am taking from inside Le Petit Hotel (in other words shooting from inside the glass of one building to inside the glass of another building on the opposite side of the street), the focus was more clearly on the window of Epik Terrasse, where there is more than one person either staring into a cell phone or taking a selfie.
They look like selfies to me. What do you think?
This photo is in a group called "Meaning In The Mist" which is for photos where the subject in focus has a relationship, explicit or implicit, with another subject not in focus. If you have such a photo you might want to submit it for inclusion.
Edited in Fujifilm's raw converter. This image has been inspired by +Pattycake+. She recently published a very successful photo called "summer sunset". I was asking myself whether the attraction of this beautiful image was the implicit suggestion that we can be one with nature. Much of landscape photography has a spiritual side to it - or, if you wish, a secular version of what theologians used to call the "unio mystica", the union of man and God. I do think that, to express things paradoxically, an image (among other things) can for a brief moment make us experience eternity. It still remains, however, an experience, that is, it remains within the boundaries of the human condition.
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
The void of waiting,
Attracting
With the very power
Of the place's promise.
Implicit sound,
Echoes of movement,
And life, impressed and trodden,
Staying, prefigured.
In this wait
Of visibility of the soul,
Distinctly life.
Vuoto d'attesa,
Che attrae
Con la potenza
Di un luogo e sua promessa.
Suono implicito,
Eco di movimento,
E vita, impressa e calcata,
Che resta, prefigurata.
In questa attesa
Di visibilità dell'anima,
Distintamente vita.
2015 claudia ioan
Roma, il palco del Teatro Quirino prima delle prove.
Rome, the stage of Teatro Quirino before the rehearsal.
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.
At first I wasn't sure about this image, thinking maybe it was just boring, so I asked a good friend whose photographic judgement I trust implicitly, and they said it was anything but. I hope you agree.
The Golden Princess in the background, moored at Station Pier, Port Melbourne.
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.
view very large
Big Picture, Tim Lowly © 1997, 120" x 120", tempera on panel. Private collection, Seoul, Korea.
This painting was part of an exhibition at Art Space Seoul in Korea. It was the first of several large paintings I have made where I intentionally engaged the convention of “the big picture” as the territory of politically or religiously charged spectacle. In size Big Picture, references the painting Las Meninas by Velázquez: a painting that in itself subverts convention. In Las Meninas, Velázquez’s most important painting as the court painter, he chose to include and emphasize the representation people who were in service in the court (including himself) while relegating the king and queen to a reflection in the mirror. Implicitly, but not insignificantly the viewers of the painting are standing where the reflected royalty should (according to the mirror) be standing. In a parallel manner the painting Big Picture,’s use of a rather compelling perspective (particularly for anyone who is in the room with the actual painting) situates the viewer of the painting in the painting. Let me rephrase this latter point: the way this work is functioning is such as to place the viewer into the world of the painting. As such to the extent that the painting is spectacle it is not one that allows or encourages a passive, removed observation.
For the exhibition catalogue curator Soo-Jin Park wrote this essay.
Assistance with the production of this painting was provided by interns Dean Olson Ramos, Deborah Hendriksma and Kim So-Jeong.
Prints available at: timlowly.imagekind.com/
"Lo conmovedor o irónico de dejar atrás la juventud está implícito en cada uno de los momentos gozosos al viajar: uno sabe que la primera alegría jamás será recobrada, y el viajero sabio aprende a no repetir sus éxitos y a ir tras nuevos lugares todo el tiempo"
..........Paul Fussell
athens, 1970s sculpture in hotel. it was tiny but attractive with those deep shadows and its implicit references to athena nike
“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.
O monumento destaca-se pelo nacionalismo implícito, visto que é todo rodeado por decorações do Brasão de armas de Portugal, incluindo inscrições de cruzes da Ordem de Cristo nas janelas de baluarte; tais características remetem principalmente à arquitetura típica de uma época em que o país era uma potência global (a do início da Idade Moderna).
Wikipédia
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."
Marshmallow
Sugar-based confection
For the music producer and DJ, see Marshmello. For other uses, see Marshmallow (disambiguation).
Marshmallow (UK: /ˌmɑːrʃˈmæloʊ/, US: /ˈmɑːrʃˌmɛloʊ, -mæl-/)[1][2] is a confectionery made from sugar, water and gelatin whipped to a solid-but-soft consistency. It is used as a filling in baking or molded into shapes and coated with corn starch. This sugar confection is inspired by a medicinal confection made from Althaea officinalis, the marsh-mallow plant.[3]
Quick Facts Type, Place of origin ...
History
The marsh-mallow plant (Althaea officinalis)
The word "marshmallow" comes from the mallow plant species (Althaea officinalis), a wetland weed native to parts of Europe, North Africa, and Asia that grows in marshes and other damp areas. The plant's stem and leaves are fleshy, and its white flower has five petals. It is not known exactly when marshmallows were invented, but their history goes back as early as 2000 BCE. Ancient Egyptians were said to be the first to make and use the root of the plant to soothe coughs and sore throats and to heal wounds. The first marshmallows were prepared by boiling pieces of root pulp with honey until thick. Once thickened, the mixture was strained, cooled, then used as intended.[4][5][6]
Whether used for candy or medicine, the manufacture of marshmallows was limited to a small scale. In the early to mid-19th century, the marshmallow had made its way to France, where confectioners augmented the plant's traditional medicinal value. Owners of small confectionery stores would whip the sap from the mallow root into a fluffy candy mold. This candy, called Pâte de Guimauve, was a spongy-soft dessert made from whipping dried marshmallow roots with sugar, water, and egg whites.[7][8] It was sold in bar form as a lozenge. Drying and preparation of the marshmallow took one to two days before the final product was produced.[9] In the late 19th century, candy makers started looking for a new process and discovered the starch mogul system, in which trays of modified corn starch had a mold firmly pushed down in them to create cavities within the starch. The cavities were then filled with the whipped marshmallow sap mixture and allowed to cool or harden.[10] At the same time, candy makers began to replace the mallow root with gelatin, which created a stable form of marshmallow.[5]
By the early 20th century, thanks to the starch mogul system, marshmallows were available for mass consumption. In the United States, they were sold in tins as penny candy and used in a variety of food recipes like banana fluff, lime mallow sponge, and tutti frutti. In 1956, Alex Doumak patented[11] the extrusion process that involved running marshmallow ingredients through tubes. The tubes created a long rope of marshmallow mixture and were then set out to cool. The ingredients were then cut into equal pieces and packaged.[5]
Modern marshmallow manufacturing is highly automated and has been since the early 1950s when the extrusion process was first developed. Numerous improvements and advancements allow for the production of thousands of pounds of marshmallow a day.[12] Today, the marshmallow typically consists of four ingredients: sugar, water, air, and a whipping agent.
Ingredients
Marshmallows consist of four ingredients: sugar, water, air, and a whipping agent/aerator (usually a protein). The type of sugar and whipping agent varies depending on the desired characteristics. Each ingredient plays a specific role in the final product.
The marshmallow is a foam, consisting of an aqueous continuous phase and a gaseous dispersed phase (in other words, a liquid with gas bubbles spread throughout). In addition to being a foam, this also makes marshmallows an "aerated" confection because it is made up of 50% air. The goal of an aerated confection like a marshmallow is to incorporate gas into a sugar mixture and stabilize the aerated product before the gas can escape. When the gas is introduced into the system, tiny air bubbles are created. This is what contributes to the unique textural properties and mouth-feel of this product.[13]
Protein
In marshmallows, proteins are the main surface-active agents responsible for the formation and stabilization of the dispersed air. Due to their structure, surface-active molecules gather at the surface area of a portion of (water-based) liquid. A portion of each protein molecule is hydrophilic, with a polar charge, and another portion is hydrophobic and non-polar. The non-polar section has little or no affinity for water, and so this section orients as far away from the water as possible. However, the polar section is attracted to the water and has little or no affinity for the air. Therefore, the molecule orients with the polar section in the water, with the non-polar section in the air. Two primary proteins that are commonly used as aerators in marshmallows are albumen (egg whites) and gelatin.[14]
Albumen (egg whites)
Albumen is a mixture of proteins found in egg whites and is utilized for its capacity to create foams. In a commercialized setting, dried albumen is used as opposed to fresh egg whites. In addition to convenience, the advantages of using dried albumen are an increase in food safety and the reduction of water content in the marshmallow. Fresh egg whites carry a higher risk of Salmonella, and are approximately 90 percent water. This is undesirable for the shelf life and firmness of the product. For artisan-type marshmallows, prepared by a candy maker, fresh egg whites are usually used. Albumen is rarely used on its own when incorporated into modern marshmallows, and instead is used in conjunction with gelatin.[15]
Gelatin
Gelatin is the aerator most often used in the production of marshmallows. It is made up of collagen, a structural protein derived from animal skin, connective tissue, and bones. Not only can it stabilize foams, like albumen, but when combined with water, it forms a thermally-reversible gel. This means that gelatin can melt, then reset due to its temperature sensitivity. The melting point of gelatin gel is around 95 °F (35 °C), which is just below normal body temperature (around 97 °F (36 °C)). This is what contributes to the "melt-in-your-mouth" sensation when a marshmallow is consumed—it actually starts to melt when it touches the tongue.[14]
During preparation, the temperature needs to be just above the melting point of the gelatin, so that as soon as it is formed, it cools quickly, and the gelatin sets, retaining the desired shape. If the marshmallow rope mixture exiting the extruder during processing is too warm, the marshmallow starts to flow before the gelatin sets. Instead of a round marshmallow, it takes on an oval form. Excessive heat can also degrade or break down the gelatin itself. Therefore, when marshmallows are being produced at home or by artisan candy makers, the gelatin is added after the syrup has been heated and cooled down.
In commercial operations, the gelatin is cooked with the sugar syrup, rather than being added later after the syrup has cooled. In this case, kinetics play an important role, with both time and temperature factoring in. If the gelatin was added at the beginning of a batch that was then cooked to 112–116 °C in 20–30 minutes, a significant amount of gelatin would break down. The marshmallow would have reduced springiness from that loss of gelatin. But since the time the syrup spends at elevated temperature in modern cookers is so short, there is little to no degradation of the gelatin.[12]
In terms of texture and mouth-feel, gelatin makes marshmallows chewy by forming a tangled 3-D network of polymer chains. Once gelatin is dissolved in warm water (dubbed the "blooming stage"), it forms a dispersion, which results in[how?] a cross-linking of its helix-shaped chains. The linkages in the gelatin protein network trap air in the marshmallow mixture and immobilize the water molecules in the network. The result is the well-known spongy structure of marshmallows. This is why the omission of gelatin from a marshmallow recipe results in marshmallow creme, since there is no gelatin network to trap the water and air bubbles.[14]
Sugars
A traditional marshmallow might contain about 60% corn syrup, 30% sugar, and 1–2% gelatin. A combination of different sugars is used to control the solubility of the solution.[16] The corn syrup/sugar ratio influences the texture by slowing crystallization of the sucrose. The smooth texture of marshmallows relies on disordered, or amorphous, sugar molecules. In contrast, increasing the sugar ratio to about 60–65% produces a grainy marshmallow.[17] Temperature also plays an important role in producing smooth marshmallows by reducing the time window for ordered crystals to form. To ensure the sugars are disordered, the sugar syrup solution is heated to a high temperature and then cooled rapidly.[18]
Sugarcane and sugar beet
Sugarcane and sugar beet are the two primary sources of sugar, consisting of sucrose molecules. Sucrose is a disaccharide that consists of one glucose and fructose molecule. This sugar provides sweetness and bulk to the marshmallow while simultaneously setting the foam to a firm consistency as it cools.[17] Sucrose, and sugars in general, impair the ability of a foam to form, but improve foam stability. Therefore, sucrose is used in conjunction with a protein like gelatin. The protein can adsorb, unfold, and form a stable network, while the sugar can increase the viscosity.[19] Liquid drainage of the continuous phase must be minimized as well. Thick liquids drain more slowly than thin ones, and so increasing the viscosity of the continuous phase reduces drainage. A high viscosity is essential if a stable foam is to be produced. Therefore, sucrose is a main component of marshmallow. But sucrose is seldom used on its own because it tends to crystallize.
Corn syrup
Corn syrup, derived from maize, contains glucose, maltose, and other oligosaccharides. Corn syrup can be obtained from the partial hydrolysis of cornstarch.[20] Corn syrup is important in the production of marshmallow because it prevents the crystallization of other sugars (like sucrose). It may also contribute body, reduce sweetness, and alter flavor release, depending on the Dextrose Equivalent (DE) of the glucose syrup used.
The DE is the measure of the amount of reducing sugars present in a sugar product in relation to glucose. Lower-DE glucose syrups provide a chewier texture, while higher-DE syrups make the product more tender.[17] In addition, depending on the type of DE used, can alter the sweetness, hygroscopicity, and browning of the marshmallow. Corn syrup is flavorless and cheap to produce, which is why candy companies love using this product.
Invert sugar
Invert sugar is produced when sucrose breaks down due to the addition of water, also known as hydrolysis. This molecule exhibits all the characteristics of honey except the flavor because it is the primary sugar found in honey. This means that invert sugar has the ability to prevent crystallization and produce a tender marshmallow. It is also an effective humectant, allowing it to trap water and prevent the marshmallow from drying out. For some candies, this is not a good trait to have, but for marshmallows, it is an advantage since it has a high moisture content.[12]
Fruit syrups
While not widely used for traditional or commercial recipes, fruit syrups have been proposed as an alternative sugar for marshmallows.[21]
Additional ingredients
Flavors
Unless a variation of the standard marshmallow is being made, vanilla is always used as the flavoring. The vanilla can either be added in extract form or by infusing the vanilla beans in the sugar syrup during cooking. This[clarification needed] is the best technique to get an even distribution of flavor throughout the marshmallow.[15]
Acids
Acids, such as cream of tartar or lemon juice, may also be used to increase foam stability. The addition of acid decreases the pH. This reduces the charge on the protein molecules and brings them closer to their isoelectric point. This results in a stronger, more stable interfacial film. When added to egg whites, acid prevents excessive aggregation at the interface. However, acid delays foam formation. It may therefore be added toward the end of the whipping process after a stable foam has been created.[13]
Manufacturing process
Video of making marshmallows
Just Born Peeps in an Easter basket
Commercial process
In commercial marshmallow manufacture, the entire process is streamlined and fully automated.
Gelatin is cooked with sugar and syrup. After the gelatin-containing syrup is cooked, it is allowed to cool slightly before air is incorporated. Whipping is generally accomplished in a rotor-stator type device. Compressed air is injected into the warm syrup, held at a temperature just above the melting point of gelatin. In a marshmallow aerator, pins on a rotating cylinder (rotor) intermesh with stationary pins on the wall (stator) provide the shear forces necessary to break the large injected air bubbles into numerous tiny bubbles that provide the smooth, fine-grained texture of the marshmallow. A continuous stream of light, fluffy marshmallow exits the aerator en route to the forming step.
The marshmallow confection is typically formed in one of three ways. First, it can be extruded in the desired shape and cut into pieces, as done for Jet-Puffed marshmallows. Second, it can be deposited onto a belt, as done for Peeps.[22] Third, it can be deposited into a starch-based mold in a mogul to make various shapes.[12]
Home making process
A freshly-cut batch of homemade marshmallows
The home process for making marshmallow differs from commercial processes. A mixture of corn syrup and sugar is boiled to about 252 °F (122 °C). In a separate step, gelatin is hydrated with enough warm water to make a thick solution. Once the sugar syrup has cooled to about 100 °F (38 °C), the gelatin solution is blended in along with desired flavoring, and whipped in a mixer to reach the final density. The marshmallow is then scooped out of the bowl, slabbed on a table, and cut into pieces.[15]
Roasted marshmallows and s'mores
A popular camping or backyard tradition in the United Kingdom,[23] North America, New Zealand and Australia is the roasting or toasting of marshmallows over a campfire or other open flame.[24] A marshmallow is placed on the end of a stick or skewer and held carefully over the fire. This creates a caramelized outer skin with a liquid, molten layer underneath. Major flavor compounds and color polymers associated with sugar browning are created during the caramelization process.[25]
As sugar costs went down in 19th century, in 1892 a New Jersey newspaper reported that "'Marshmallow roasts' are the newest thing in summer resort diversions." There were more mentions of the trend throughout 1890s, implicitly (and sometimes explicitly) referring to home-made marshmallows, as commercial process was yet to be invented.[26]
S'mores are a traditional campfire treat in the United States, made by placing a toasted marshmallow on a slab of chocolate, which is placed between two graham crackers. These can then be squeezed together, causing the chocolate to begin melting.[27]
Roasting a marshmallow
Roasting a marshmallow
A roasted marshmallow
A roasted marshmallow
An open-faced s'more
An open-faced s'more
Nutrition
Marshmallows are defined in US law as a food of minimal nutritional value.[28]
Dietary preferences
Toasted vegan marshmallows served with chocolate mousse
The traditional marshmallow recipe uses powdered marshmallow root, but most commercially manufactured marshmallows instead use gelatin in their manufacture. Vegans and vegetarians avoid gelatin, but there are versions that use a substitute non-animal gelling agent such as agar.[29] In addition, marshmallows are generally not considered to be kosher or halal unless either their gelatin is derived from kosher or halal animals or they are vegan.[30]
Marshmallow creme and other less firm marshmallow products generally contain little or no gelatin, which mainly serves to allow the familiar marshmallow confection to retain its shape. They generally use egg whites instead. Non-gelatin, egg-containing versions of this product may be consumed by ovo vegetarians. Several brands of vegetarian and vegan marshmallows and marshmallow fluff exist.[31]
See also
Chocolate-coated marshmallow treats
Chubby Bunny, children's game involving marshmallows
Divinity (confectionery)
Flump (sweet)
Marshmallow creme
Peeps
Stanford marshmallow experiment
Stay Puft Marshmallow Man
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.
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)"
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
Basilica of Santa Maria in Trastevere
The phrase "in Trastevere" (beyond the Tiber) describes the neighborhood of Rome in which the Basilica of Santa Maria is located. In ancient times, the neighborhood was mainly inhabited by immigrants, sailors, fishermen, and retired soldiers. Before Roman Emperor Constantine the Great (306–337 AD) decriminalized Christian worship by issuing the Edict of Milan in 313, Christian worship took place in "tituli"--private "house churches" that were sometimes named for the priest designated by church authorities as the patron. The original house church in this site was founded in 220 by Pope Callixtus I, who died in 222; and it became known as "Titulus Callisti."
The oratory of the house church that Pope Callixtus I proposed to build at this location necessitated displacement of part of the "Taberna meritoria" (a tavern and refuge for retired soldiers). This created a dispute between Christians and tavern-keepers. The new and young Roman Emperor Alexander Severus (approximately 14 years old)--not himself a Christian--settled the dispute in favor of the Christians, reportedly declaring, "I prefer that it should belong to those who honor God, whatever be their form of worship." Implicit in the young emperor's ruling, Christian worship in the church was known about and allowed 93 years before such worship's official decriminilization in 313's Edict of Milan. This then became one of the first locations (perhaps the very first location) of imperially permitted Christian worship in Rome.
According to inscriptions in the basilica, the original structure was rebuilt and enlarged in 340, restored in the 5th and 8th centuries, then re-erected on its old foundations in 1140-1143. The remains of Pope Callixtus I are preserved under the altar.
The central nave down which this photo looks, is built on the original floor plan. It is bounded on the sides by an assortment of granite columns that were taken from various ancient Roman ruins.
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...
Il gonfalone proviene dalla cappella dedicata alla Vergine annunziata nella chiesa di santa Maria dei Servi a Perugia, concessa all'omonimo sodalizio nel 1466. In quell'occasione venne commissionata l'opera in sostituzione di un altro dipinto più antico. In seguito alla distruzione della chiesa avvenuta nel 1542, per far posto alla Rocca Paolina voluta da Paolo III, il dipinto, come molti altri, venne trasportato nella chiesa di santa Maria Nuova. Al suo interno dapprima fu collocato sull'altare maggiore, successivamente su di un altare del transetto e poi nella parete di facciata. Nel 1863 il gonfalone entrò in Pinacoteca, in seguito ai provvedimenti di soppressione degli ordini religiosi. La presenza nel dipinto dei notai non è casuale; dalle fonti, infatti, si ricava che il Collegio dei Legisti era particolarmente devoto alla Vergine annunziata e che il 25 marzo si recava ogni anno in processione all'altare a Lei dedicato nella chiesa dei Servi e poi in santa Maria Nuova. Il gonfalone presenta, inoltre, alcune analogie iconografiche con l'Annunciazione e san Luca, dipinta da Benedetto Bonfigli nel sesto decennio del XV secolo. E' il caso del muro di cinta, ornato di motivi all'antica, che delimita il giardino di delizie o del gusto fiorito presente sia nel dipinto del Bonfigli (lo sgabello ai piedi della Vergine e la loggia sovrastante), che in quello dell'Alunno (l'elaborato trono). Entrambi, infine, testimoniano la devozione da parte dei notai al Sacro Mistero, resa implicitamente dal Bonfigli nella figura del san Luca scrivente, invece chiaramente espressa da Niccolò di Liberatore nei Legisti dipinti in primo piano. L'opera del folignate si caratterizza per un maggiore accento adriatico, evidente soprattutto nel trono ancora di gusto gotico, che recentemente è stato accostato ai troni delle Virtù di Palazzo Trinci a Foligno. L'attribuzione a Niccolò di Liberatore detto l'Alunno spetta al Rumohr, che nel 1927 ne propose per primo il nome, seguito poi da quasi tutta la critica successiva. L'opera si colloca nella carriera dell'artista in un momento in cui oltre alle componenti toscane (Bartolomeo di Tommaso e Benozzo Gozzoli) intervengono nel suo linguaggio anche influenze marchigiane caratterizzate da un forte retaggio tardogotico. Riguardo alla committenza Lunghi propone di vedere un intervento di Braccio Baglioni, lo studioso, infatti, nota che il dipinto era destinato alla medesima chiesa dove era situata anche la cappella di famiglia, inoltre dalle fonti risulta che un componente della famiglia Baglioni nel 1466 faceva parte della Confraternita dell'Annunziata, che trattò l'acquisto della cappella in santa Maria dei Servi.
Implicit fragrance
===================================================
Leave a message, add to the favorites or visit,
Thanks to every friend ! Greetings ! And wish you every lucky !
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.