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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.
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.
Hacia tiempo que no escribía sobre mi chica. Durante estos días he mantenido algunas conversaciones con amigos cercanos y con amigos lejanos (he descubierto el SPYKE, una flipada …jajaja) y en estas conversaciones he recordado momentos cruciales en la que su lucha y su decisión me salvaron de deambular por el mundo como si fuese el holandés errante.
Mi coraza protectora alimentada por mi miedo interior me impedía siquiera pensar en que alguna vez estaría con alguien, mis relaciones siempre duraban un periodo de tiempo que yo media desde el instante que nos conocíamos hasta el instante en que mi pareja (exparejas) empezaban a controlar o querer condicionar mi vida (cosa normal en ellas, ya que soy un poco incontrolable), en ese momento, que podía ser explicito o implícito (se podía descubrir a través de su mirada), me daba cuenta que la relación había llegado a su fin, ya que no quería dar nada más de mi, lo mas profundo estaba protegido o encarcelado por mi coraza, solo podía dar la superficie, con cariño y respeto pero siempre la superficie. Y de esta forma terminaba la relación.
Con Inma nunca llego este momento, nunca me juzgo ni hubo ningún tipo de control, siempre me abrió las manos y me dejo volar libre, con mis montañas, con mis amigos (que fueron suyos desde que la conocieron), con mi adicción a la velocidad sobre 2 ruedas (que ya la he superado…jajajaja… a base de furgoneta con sillas para niños…….jajajaja), siempre era yo (y soy) el egoísta.
Nunca llego el momento y entonces me asuste, sabia que si pasaba un día más ya no podría separarme, e intente tomar la decisión de acabar nuestra relación. Y entonces para mi asombro ella empezó a brillar, y de un solo golpe rompió mi coraza de cristal, lucho como una amazona, lucho por mí y por lo que compartíamos, lucho por nuestra libertad juntos, lucho y gano, y nunca perder me había gustado tanto.
Desde ese día ella es la que brilla; Recordad, aunque a mi me veáis con movimientos acrobáticos y piruetas de color y sonido, realmente lo único que hago es reflejar su luz; Reflejar su luz como si fuese la luna.
Active Tree.
詩意的綠色 芬芳的早期色彩 樹枝深處 親密的黃色 流行的紅色 上升的可愛的藍色 富有表現力的色調 突然的氣味,
absorptions mêlant ombres implicites pratique zen concentrant peintre intégrations personnelles espace merveilleux joies innombrables,
rindreáil riachtanach aistrithe ábhar íogair céadfaí domhain nádúr idirthréimhseach an fhómhair deiridh Búdaíoch ag aithris duilleoga léitheoireachta haiku,
tańczące krople rosy anonimowe ptaki odpoczywające w poszukiwaniu wyzwolenia cierpienie wiedza wietrzne ciało poeci pielgrzymka blask księżyca myśli,
particule nepieritoare asociații naturale jurnale renumite care înțeleg vremea dimensiuni prețioase adâncimi copleșitoare,
輝かしい太陽の神殿明るい進歩の方法禅の実現空の雲魔法の修道院ウォーキングは、心の季節を開く興味深い色合いを示します.
Steve.D.Hammond.
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.
Unfortunately only a few weeks after getting a photograph of this stunning bird he is dead reports have said he was hounded by birders to continually Lek. The problem was he was so accessible showing only feet from a main road. I feel so sad and even slightly implicit in his demise. I will never again go looking for a Capercailie. If I see one on my ramblings then so be it.
The red listed birds are having enough problems without being hounded by birders or photographers.
Every Sufi Dargah is incomplete without Qawwals and their quintessential Qawwali..be it Makhdoom Shah Baba at Mahim,or Khwajah Garib Nawaz at Ajmer or Nizamuddin Aulia in Delhi.
Qawwali is the staple diet of the devotees who come to pay their salutations to the Dargahs during the annual Urus..
No Urus is complete without Qawwali rendition in music and vocal praising the Holy Saint and his Holy Shrine.
And the qawwals get handsomely paid by the crowds , but more than money the Qawwals to seek the blessiings of the Holy Saint to achieve success in Bollywood or shows all over the world.
Indians and Pakistanis love Qawwalis..
Qawwali sourced from wikipedia.
Qawwali (Urdu/Persian: قوٌالی; Punjabi/Multani: ਖ਼ਵ੍ਵਾਲੀ, قوٌالی; Brajbhasha/Hindi: क़व्वाली) is a form of Sufi devotional music popular on the Indian subcontinent. It's a vibrant musical tradition that stretches back more than 700 years. Originally performed mainly at Sunni Sufi shrines throughout the subcontinent, it has also gained mainstream popularity. Qawwali music received international exposure through the work of the late Nusrat Fateh Ali Khan, largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals. Often listeners, and even artists themselves, are transported to a state of wajad, a trance-like state where they feel at one with God, generally considered to be the height of spiritual ecstasy in Sufism. Although famous throughout the world, its economic and spiritual hub remains the Punjab province of Pakistan from where it gained entry into the mainstream commercial music industry and international fame.
[edit] Song content
The songs which constitute the qawwali repertoire are mostly in Urdu and Punjabi (almost equally divided between the two), although there are several songs in Persian, Brajbhasha and Siraiki.[1][2] There is also qawwali in some regional languages (e.g., Chhote Babu Qawwal sings in Bengali), but the regional language tradition is relatively obscure. Also, the sound of the regional language qawwali can be totally different from that of mainstream qawwali. This is certainly true of Chhote Babu Qawwal, whose sound is much closer to Baul music than to the qawwali of Nusrat Fateh Ali Khan, for example.
The poetry is implicitly understood to be spiritual in its meaning, even though the lyrics can sometimes sound wildly secular, or outright hedonistic. The central themes of qawwali are love, devotion and longing (of man for the Divine).
Qawwalis are classified by their content into several categories:
A hamd is a song in praise of Allah. Traditionally, a qawwali performance starts with a hamd.
A naat is a song in praise of the Prophet Muhammad. The opening hamd is traditionally followed by a naat.
A manqabat is a song in praise of either Imam Ali or one of the Sufi saints. Interestingly, manqabats in praise of Ali are sung at both Sunni and Shi'a gatherings. If one is sung, it will follow right after the naat. There is usually at least one manqabat in a traditional programme.
A marsiya is a lamentation over the death of much of Imam Husayn's family in the Battle of Karbala. Once again, this would typically be sung only at a Shi'a concert.
A ghazal is a song that sounds secular on the face of it. There are two extended metaphors that run through ghazals -- the joys of drinking and the agony of separation from the beloved. These songs feature exquisite poetry, and can certainly be taken at face value, and enjoyed at that level. In fact, in India and Pakistan, ghazal is also a separate, distinct musical genre in which many of the same songs are performed in a different musical style, and in a secular context. In the context of that genre, the songs are usually taken at face value, and no deeper meaning is necessarily implied. But in the context of qawwali, these songs of intoxication and yearning use secular metaphors to poignantly express the soul's longing for union with the Divine, and its joy in loving the Divine. In the songs of intoxication, "Wine" represents "knowledge of the Divine", the "Cupbearer" (saaqi) is God or a spiritual guide, the "Tavern" is the metaphorical place where the soul may (or may not) be fortunate enough to attain spiritual enlightenment. (The "Tavern" is emphatically not a conventional house of worship. Rather, it is taken to be the spiritual context within which the soul exists) Intoxication is attaining spiritual knowledge, or being filled with the joy of loving the Divine. In the songs of yearning, the soul, having been abandoned in this world by that cruel and cavalier lover, God, sings of the agony of separation, and the depth of its yearning for reunion.
A kafi is a song in Punjabi, which is in the unique style of poets such as Shah Hussain and Baba Bulleh Shah. Two of the more popular Kafis include Ni Main Jana Jogi De Naal and Mera Piya Ghar Aaya.
A munadjaat is a song where the singer displays his thanks to Allah through a variety of linguistic techniques. It is often sung in Persian, with Mawlana Jalāl-ad-Dīn Rumi credited as its inventor.
[edit] Composition of a qawwali party
A group of qawwali musicians, called a party, typically consists of eight or nine men — women are, for all intents and purposes, excluded from traditional Muslim music as respectable women are traditionally prohibited from singing in the presence of men, though these traditions are changing — including a lead singer, one or two side singers, one or two harmoniums (which may be played by lead singer, side singer or someone else), and percussion. If there is only one percussionist, he plays the tabla and dholak, usually the tabla with the left hand and the dholak with the right. Often there will be two percussionists, in which case one might play the tabla and the other the dholak. There is also a chorus of four or five men who repeat key verses, and who aid and abet percussion by hand-clapping.
The performers sit in two rows — the lead singer, side singers and harmonium players in the front row, and the chorus and percussionists in the back row.
Before the fairly recent introduction of the harmonium, qawwalis were usually accompanied by the sarangi. The sarangi had to be retuned between songs; the harmonium didn't, and was soon preferred.
[edit] Musical structure
Songs are usually between 15 to 30 minutes long. However, the longest commercially released qawwali runs slightly over 115 minutes (Hashr Ke Roz Yeh Poochhunga by Aziz Mian Qawwal). The qawwali maestro Nusrat Fateh Ali Khan has at least two songs that are more than 60 minutes long.
Qawwalis tend to begin gently and build steadily to a very high energy level in order to induce hypnotic states both among the musicians and within the audience. Songs are usually arranged as follows:
They start with an instrumental prelude where the main melody is played on the harmonium, accompanied by the tabla, and which may include improvised variations of the melody.
Then comes the alap, a long tonal improvised melody during which the singers intone different long notes, in the raag of the song to be played.
The lead singer begins to sing some preamble verses which are typically not part of the main song, although thematically related to it. These are sung unrhythmically, improvised following the raag, and accompanied only by the harmonium. After the lead singer sings a verse, one of the side singers will repeat the verse, perhaps with his own improvisation. A few or many verses will be sung in this way, leading into the main song.
As the main song begins, the tabla, dholak and clapping begin. All members join in the singing of the verses that constitute the refrain. Normally neither the lyrics of the main verses nor the melodies that go with them are improvised; in fact, these are often traditional songs sung by many groups, especially within the same lineage. As the song proceeds, the lead singer or one of the side singers may break out into an alap. Nusrat Fateh Ali Khan also popularized the interjection of sargam singing at this point. The song usually builds in tempo and passion, with each singer trying to outdo the other in terms of vocal acrobatics. Some singers may do long periods of sargam improvisation, especially alternating improvisations with a student singer. The songs usually end suddenly.
The singing style of qawwali is different from Western singing styles in many ways. For example, in words beginning with an "m", Western singers are apt to stress the vowel following the "m" rather than the "m" itself, whereas in qawwali, the "m" will usually be held, producing a muted tone. Also in qawwali, there is no distinction between what is known as the chest voice and the neck voice (the different areas that sound will resonate in depending on the frequency sung). Rather, qawwals sing very loudly and forcefully, which allows them to extend their chest voice to much higher frequencies than those used in Western singing, even though this usually causes a more noisy or strained sound than would be acceptable in the West.
[edit] Singing Order in Chistiya
Instrumental: This is supposed to be the announcement of the arrival of Khawaja Moinuddin Chishti's, as Sufi believes their saints are free of time-space. Also that Nabi, Siddique, Shaheed, and Saleh category of faithfuls are never dead, just gone into some other state from where they visit whenever they are mentioned, especially if there is a function in their honor.
Hamd
Naat
Manqabat Ali
Manqabat Ghous: Praise of Shaikh Abdul Qadir Jelani
Manqabat Khwaja: Praise of Khwaja Moinuddin Chishti
Manqabat Shaikh: Praise of the Shaikh/Pir if it is his anniversary
Rang or Badhawa: If it is the death anniversary of the Pir, then it is usually Rang, a poem by Amir Khusro. If it is the Shaikh's birthday, it is usually the Badhawa.
[edit] Legendary Qawwals of the Past
Aziz Ahmed Warsi
Aziz Mian Qawwal
Badar Ali Khan (aka Badar Miandad)
Bahauddin Qutbuddin
Fateh Ali Khan Mubarik Ali Khan
Jafar Husain Khan Badauni
Muhammed Saeed Chishti
Munshi Raziuddin
Nusrat Fateh Ali Khan
Sabri Brothers
[edit] Well-known Qawwals of Today
Abida Parveen
Amjad Sabri
Aziz Nazan
Bakshi Javed Salamat
Chhote Aziz Nazan
Faiz Ali Faiz
Fareed Ayaz
Ghulam Sabir Nizami and Ghulam Waris Nizami
Mehr Ali Sher Ali
Najmuddin Saifuddin
Rahat Nusrat Fateh Ali Khan
Sher Miandad Khan
Waheed and Naveed Chishti
Taken in Chester, England.
Photographing the homeless: Exploitative vs Respect? The assumption is that if you’re in public, if you’re on a public street, then you’ve essentially given implicit consent to be observed. The difficulty with that is, for those who have no choice but to be in public, consent to be observed is not implicit. There’s nowhere else to go. They can’t revoke that consent because they can’t go inside.
But at the same time you should remember this one thing: you’re taking a photo. Photography isn’t a crime and in some ways you’re documenting life as it happens. Documenting life isn’t a crime or exploitive. If you go around creating a body of work showing off the crazy times that we live in, then that is simply nothing more than that.
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"You take delight not in a city's seven or seventy wonders, but in the answer it gives to a question of yours, or the question it poses, forcing you to answer."
— Italo Calvino, Invisible Cities."
They met, perhaps by chance, along the Aqueduct Steps.
One was going up, the other down.
Or perhaps the opposite.
It’s hard to say: here, time does not follow the direction of footsteps, but that of stone.
The old aqueduct, that once carried water, now carries absences, silences, and small daily epiphanies.
The curves of the staircase draw an urban spiral, as if the city were breathing from below.
Each step is a pause.
Each shadow, a thought left hanging.
In this black and white photograph, taken in Perugia, along the Aqueduct Steps, architecture becomes a threshold, a question, a journey.
Two figures move through space, yet it is the space itself that tells the story:
the memory held in brick, the intuition of light, the balance between what is seen and what is withheld.
📷 Fine art architectural photograph, taken with a Nikon D600 in natural light.
Post-processing is carefully tuned to enhance the geometry of the place and the implicit narrative of human passage.
An homage to Perugia and its silent witnesses.
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Perugia, Scalette dell’Acquedotto – Percorsi dell’anima
"Di una città non godi le sette o settantasette meraviglie, ma la risposta che dà a una tua domanda. O la domanda che ti pone obbligandoti a rispondere."
— Italo Calvino, Le città invisibili
Si incontrarono, forse per caso, lungo le Scalette dell’Acquedotto.
Uno saliva, l’altra scendeva.
O forse era il contrario.
Difficile dirlo: qui il tempo non segue la direzione del passo, ma quella della pietra.
L’antico acquedotto, che un tempo portava l’acqua, ora trasporta assenze, silenzi, piccole epifanie quotidiane.
Le curve della scalinata disegnano una spirale urbana, come se la città respirasse dal basso.
Ogni gradino è una pausa. Ogni ombra, un pensiero rimasto in sospeso.
In questa fotografia in bianco e nero, realizzata a Perugia, lungo le Scalette dell’Acquedotto, l’architettura diventa soglia, domanda, cammino.
Due figure percorrono lo spazio, ma è lo spazio stesso a raccontare: la memoria del mattone, l’intuizione della luce, l'equilibrio tra visibile e sottratto.
📷 Fotografia architettonica in chiave fine art, scattata con Nikon D600 e luce naturale.
La post-produzione è calibrata per valorizzare la geometria del luogo e la narrazione implicita del passaggio umano.
Un omaggio a Perugia e ai suoi silenti testimoni.
Please accept with no obligation, implied or implicit my best wishes for an environmentally conscious, socially responsible, low stress, non-addictive, gender neutral, celebration of the winter solstice holiday, practiced within the most enjoyable traditions of the religious persuasion of your choice, or secular practices of your choice, with respect for the religious/secular persuasions and/or traditions of others, or their choice not to practice religious or secular traditions at all … and a fiscally successful, personally fulfilling, and medically uncomplicated recognition of the onset of the generally accepted calendar year 2011, but not without due respect for the calendars of choice of other cultures whose contributions to society have helped make Canada great, (not to imply that Canada is necessarily greater than any other), and without regard to the race, creed, color, age, physical ability, religious faith, choice of computer platform, or sexual preference of the wishee.
- DISCLAIMER OF WARRANTABILITY -
(By accepting this greeting, you are accepting these terms. This greeting is subject to clarification or withdrawal. It is freely transferable with no alteration to the original greeting. It implies no promise by the wisher to actually implement any of the wishes for her/himself or others, and is void where prohibited by law, and is revocable at the sole discretion of the wisher. This wish is warranted to perform as expected within the usual application of good tidings for a period of one year, or until the issuance of a subsequent holiday greeting, whichever comes first, and warranty is limited to replacement of this wish or issuance of a new wish at the sole discretion of the wisher.)
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.
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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.
La torre de Belém, situada a la ciutat portuguesa de Lisboa, capital de l'estat, és obra de Francisco de Arruda i constitueix un dels exemples més representatius de l'arquitectura manuelina.
El monument destaca pel nacionalisme implícit, ja que està envoltat de decoracions escut de Portugal, incloent-hi inscripcions de les creus de l'orde de Crist en les finestres del bastió, aquestes característiques es refereixen principalment a l'arquitectura típica d'un moment en què el país és en una potència mundial (el de l'inici de l'edat moderna).
Aixecada al barri de Belém al costat del Tejo, prop del monestir dels Jerònims, originàriament va servir com a centre de recaptació d'impostos per als vaixells que volien entrar a la ciutat. Actualment és una atracció turística que es pot visitar i forma part del Patrimoni de la Humanitat.
Originalment sota l'advocació de Sant Vicent màrtir, sant patró de Lisboa, anomenat el segle XVI pel nom de Baluard de Sant Vicent al costat de Betlem i Baluard Restelo, aquest fort era part del pla de defensa de la rivera del Tajo, projectat en l'època de Joan II de Portugal (1481-95),integrat al marge dret del riu per la Torre de Sant Antoni Cascais i a l'esquerra pel Fort de São Sebastião da Caparica.
L'estructura es va iniciar el 1514, sota el regnat de Manuel I de Portugal (1495-1521), amb l'arquitecte Francisco de Arruda. Es troba en un aflorament rocós del riu, davant la platja antiga de Betlem, i va ser destinat a substituir el vell vaixell d'artilleria, ancorat en aquest tram, on la flota va partir cap a les Índias. Les seves obres van ser encomanades a Diogo de Boitaca, que al seu moment, també va dirigir les obres des del veí primerenc Monestir dels Jerònims.
Completat el 1520, en fou el seu primer Alcalde Gaspar de Paiva, anomenat per aquesta funció l'any següent.
Noirs de loupes, grêlés, les yeux cerclés de bagues
Verts, leurs doigts boulus crispés à leurs fémurs,
Le sinciput plaqué de hargnosités vagues
Comme les floraisons lépreuses des vieux murs;
Ils ont greffé dans des amours épileptiques
Leur fantasque ossature aux grands squelettes noirs
De leurs chaises; leurs pieds aux barreaux rachitiques
S'entrelacent pour les matins et pour les soirs!
Arthur Rimbaud.
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Michiru Kaiou aka Sailor Neptune was just as an impactful character to me in the Sailor Moon franchise as Sailor Moon herself. At the time, Michiru's devotion to her mission at the expense of even her own life was just beyond comprehension for me as a 12 year old queer youth.
Why or how could someone be so loyal to their intuition because at the time that's what she was going off of. She trusted herself implicitly and to a fault.
This scene in the series was horrific then and still is now. To what lengths will you go to achieve your goals. Do you really have a pure heart if your intentions are undiluted or was the irony that having a pure heart isn't always what it's cracked up to be.
Oxford Rejects Homophobes!
Exeter College hosted the group Christian Concern to hold a conference. The students believe that this group is anti lgbtq rights,anti Islam,and anti choice. They also believe that these values have no place in Oxford and should not be implicitly supported by allowing the group to hold a conference here. The student s were encouraging people to join the protest and to also make it clear that Oxford, and the student body is absolutely opposed,
Exeter College Oxford 2012
Nikon D90
Museo de Madinat Al-Zahra
(Museo arqueológico y centro de interpretación del Conjunto de Madinat al-Zahra)
Ctra. de Córdoba a Palma del Río, A-431, km 5.5, Córdoba
Arquitectos: Nieto Sobejano Arquitectos: Fuensanta Nieto y Enrique Sobejano. Arquitecto de proyecto Miguel Ubarrechena. Equipo de proyecto Carlos Ballesteros, Pedro Quero y Juan Carlos Redondo. Dirección de obra: Fuensanta Nieto, Enrique Sobejano y Miguel Mesas Izquierdo. Proyecto museográfico: Nieto Sobejano Arquitectos / Frade Arquitectos, S.L. Concurso: 1999 Proyecto: 2002 Finalización: 2009
Los Arquitectos describen su proyecto:
“Los restos de la antigua ciudad hispano-musulmana sugerían un diálogo con quienes mil años antes la habían concebido y construido, pero también con el paciente trabajo de los arqueólogos y con el paisaje agrícola circundante, al que la geometría de las ruinas otorgaba una inesperada cualidad abstracta. El terreno del recinto arqueológico destinado al museo provocaba, no obstante, sentimientos encontrados.
Por una parte, la añoranza de un pasado remoto aún por descubrir impregnaba el paisaje que se extendía hacia la sierra de Córdoba. Por otra parte, el desordenado avance de las construcciones recientes se cernía inquietante sobre el entorno de lo que un día fue la ciudad palatina. Nuestra primera reacción al llegar al lugar habría de marcar, desde el primer momento, la futura propuesta: no debíamos edificar en aquel paisaje.
Ante una extensión de tal amplitud, que aún espera ser excavada, decidimos actuar como lo haría un arqueólogo: no construyendo un nuevo edificio, sino encontrándolo bajo tierra, como si el paso del tiempo lo hubiera ocultado hasta el día de hoy. De esta forma, el proyecto descubre la planta de un museo subterráneo, que articula sus espacios en torno a una secuencia de llenos y vacíos, áreas cubiertas y patios que guían al visitante en su recorrido. A partir del vestíbulo principal se extiende un amplio patio de planta cuadrada que, como un claustro, organiza en torno suyo los espacios públicos principales: salón de actos, cafetería, tienda, biblioteca, y salas de exposición. Un patio profundo y longitudinal articula las zonas de uso privado: administración, talleres de conservación e investigación. Un último patio constituye la prolongación al exterior de las áreas expositivas del museo. Las zonas de almacenamiento, concebidas como grandes espacios visitables iluminados cenitalmente, se funden en los recorridos del edificio con las áreas públicas de exposición y difusión. La propia concepción del proyecto lleva implícito un posible futuro crecimiento, pudiéndose agregar nuevos pabellones como si de nuevas excavaciones se tratase.
El nuevo museo establece casi imperceptiblemente un permanente diálogo con la arquitectura y el paisaje de la antigua medina árabe. La planta de doble cuadrado del museo se hace homotética con la de la ciudad, los jardines evocan la geometría abandonada de una excavación, los muros de hormigón y las cubiertas de acero cortén reflejan en el blanco y el rojo los colores con que originalmente estuvieron estucados los muros de la ciudad califal. La luz, la sombra, la textura, el material, abstraen la riqueza perceptiva que transmiten las ruinas arqueológicas.
El museo de Madinat al-Zahra aparece en el paisaje silenciosamente, como si hubiera sido encontrado bajo tierra, del mismo modo que a lo largo de los años continuará ocurriendo con los restos de la antigua ciudad de los califas omeyas.”
En “Museos de Andalucía” podemos leer:
El Museo, abierto al público en octubre de 2009, es un complejo edificio que contiene los espacios propios de un museo moderno, así como toda la infraestructura dedicada a la gestión patrimonial que demanda un conjunto arqueológico de la magnitud de la ciudad califal. El edificio está concebido como el punto de partida para la visita al yacimiento, con una presentación y exposición museográfica sobre Madinat al-Zahra.
La creación del Museo resuelve varios problemas planteados desde el comienzo de la recuperación del yacimiento en 1911. El primer edificio construido para dar apoyo a la excavación quedó pronto obsoleto por la ingente cantidad de material arqueológico que se fue almacenando en sus instalaciones y por la insuficiencia de espacios expositivos.
El Museo viene a resolver, además, varias demandas del Conjunto, referidas tanto a la difusión y función didáctica de la institución, como a la tarea de custodia y conservación que esta institución tiene encomendada.
Destaca en el edificio su ubicación exterior a la ciudad, aprovechando uno de sus caminos originales de acceso, de forma que no condiciona ni las excavaciones futuras ni el crecimiento en extensión de las mismas. Este compromiso de la nueva infraestructura con el yacimiento se extiende también al paisaje, pues el proyecto planteado por el estudio de arquitectura Nieto y Sobejano la concibe como una edificación que se oculta parcialmente en el territorio, para no interferir ni en la contemplación del paisaje ni en el fundamental protagonismo de la ciudad califal.
Se trata, en definitiva, de una infraestructura, ideada para facilitar la comprensión del yacimiento y desarrollar a todos los niveles sus potencialidades. Se concibe como una infraestructura para impulsar nuevos proyectos de investigación, conservación y difusión de la ciudad de Madinat al-Zahra y toda la ordenación territorial que constituye su entorno. Cuenta con los siguientes servicios:
Área cultural, expositiva y didáctica: Auditorio, Exposición permanente, Biblioteca Especializada "Manuel Ocaña", Aula didáctica y Sala de seminarios. Área de conservación, investigación y Administración: Almacenes, Talleres de restauración, Centro de documentación, Oficinas y despachos. Otros servicios: Tienda con librería y Cafetería-restaurante.
Premios:
2009: Finalista Premio Intervención en Patrimonio Arquitectónico Español. The International Architecture Award. The Chicago Athenaeum Museum.
2010: Aga Khan Award for Architecture.
2011: Piranesi Prix de Rome. Obra Seleccionada Premio de Arquitectura Contemporánea de la Unión Europea – Premio Mies van der Rohe. Finalista Premio Arquitectura Española. Finalista Premios FAD
2012: European Museum of the Year Award
www.nietosobejano.com/project.aspx?i=1&t=MADINAT_ALZA...
www.metalocus.es/es/noticias/nieto-sobejano-arquitectos-m...
www.museosdeandalucia.es/cultura/museos/CAMA/?lng=es
NietoSobejano Arquitectos
He loved when she completely unfurled and exposed her diaphanous undercarriage entirely.
They trusted each other implicitly. He would make a piece about her, to show her in her sublime pellucidity, her divinity.
She would be 'The Bride', his bride even, preserved, suspended, in glass.
El regreso del Señor en la carne cumple las profecías bíblicas
Sobre Su regreso en los últimos días, el Señor Jesús dijo: "Vosotros también estad preparados, porque el Hijo del Hombre vendrá a la hora que no esperéis" (Lucas 12：40). "Porque como el relámpago al fulgurar resplandece desde un extremo del cielo hasta el otro extremo del cielo, así será el Hijo del Hombre en su día. Pero primero es necesario que El padezca mucho y sea rechazado por esta generación" (Lucas 17：24-25). ¿Cuál es el significado implícito de las citas bíblicas "el Hijo del Hombre vendrá" y "así será el Hijo del Hombre en su día"? Si el Señor regresa con las nubes, ¿cómo hemos de entender que lo haga para que "padezca mucho" y "sea rechazado por esta generación"?
Scripture quotations taken from LBLA. Copyright by The Lockman Foundation.
Ver más: www.biblia-es.org/cumple-las-profecias-biblicas.html
Para Lío 2.0. Reto 2.00: Comenzamos.
Pensé varias opciones para afrontar este reto pero terminé quedándome con la primera: ir a la estación de trenes o a un tramo de vía más apartado y hacer varias tomas.
Con el propio escenario ya va implícito el viaje que iniciamos por otras vías, otros caminos, con la cámara como único equipaje tangible y montones de ilusiones y esperanzas puestas en el nuevo proyecto.
Elegí esta foto (aún cuando me salté las reglas de la composición) porque me resultaba más estética que otras que hice, que eran más narrativas.
I've revisited a shot I took a few years ago having learned a few techniques since then - RAW for a start.
This is the Millennium Bridge, London, viewed from the south bank of The River Thames in front of Tate Modern. It opened in June 2000 to mark the new millennium but famously those first using it discovered that it swung as they crossed. As they subconsciously fell into step with the swing (actually, as it lurched ever so slightly, the pedestrians instinctively lurched with it to maintain their balance), the amplitude increased in exactly the same way as applying a gentle push to a child on a swing at just the right time is found surprisingly effective given the effort applied. This effect, which physicists call resonant frequency, is considered to be (ahem) unhelpful with regard to bridges. Indeed, columns of marching troops may be instructed to break step as they cross a bridge lest they cause a collapse which dumps them into whatever lies beneath. Clearly something had to be done so the bridge closed for a couple of years while the boffins sorted it out. Today, when used to cross The Thames from the south, it provides a spectacular, processional approach to Sir Christopher Wren's masterpiece, St Paul's Cathedral, especially after sunset.
The original then 500 year old St Paul's was destroyed during The Great Fire of London in 1666. This is the replacement, Sir Christopher being appointed its architect in 1673 and knighted the day after accepting his commission. Although it may appear traditional to 21st Century eyes, his design was considered radical and had to amended. However, he obtained King Charles II's permission to make "variations, rather ornamental than essential" so he pretty much went with his original design after all. Its most obvious feature - the dome - is very similar to St Peter's Basilica in Rome, the seat of The Pope. That was controversial in England a little over a Century after King Henry VIII had split the country from catholic Rome, placing himself as head of the new Church of England. The design was decided upon within living memory of The Gunpowder Plot.
To divert from St Paul's, The Gunpowder Plot involved a group of catholic conspirators intending to blow Parliament, King James I and much of the aristocracy sky high during the ceremonial state opening of Parliament on November 5th 1605. The plotters also had plans to kidnap other highly placed people, including Princess Elizabeth, daughter of His Majesty, who was to be installed as a puppet monarch, and they had stashed weapons to perform what today we'd call a coup d'etat. Had they succeeded England could have become ripe for the other European superpower, catholic Spain, to exploit. However, The Plot was betrayed resulting in 17th Century hitman Guy Fawkes being found in the cellars of Parliament alongside a very incriminating amount of gunpowder. It all ended very badly for him. About to be hung, drawn and quartered, he prematurely jumped from the scaffold, the noose breaking his neck, killing him instantly so depriving The State of the satisfaction of completing its gruesome sentence while he was still alive. The other principal plotters were killed or captured in a shootout in Staffordshire leading to heads finding themselves on spikes. The Plot caused Catholicism to be regarded at least with suspicion, even though His Majesty's response to those other than the plotters themselves was conciliatory rather than punitive, but even today a catholic may not become monarch.
The design of St Paul's invites speculation. Could its dome, being so similar to the catholic taste in architecture, hint at the private religious belief of its creator? He was a powerful man with influential friends such as Sir Isaac Newton and Robert Hooke. Was Sir Christopher using his greatest project to thumb his nose at The Establishment, implicitly challenging it to come after him if it dared? If so, he was playing a dangerous game, but whatever! I guess we'll never know. Perhaps he just liked domes.
Unusually for such a large project in those days, the architect lived to see it completed - officially Christmas Day 1711 - although construction actually continued for several more years. Sir Christopher died in 1723. He is buried in the crypt with his epitaph (translated from Latin) being "If you seek my monument, look around you." Quite.
The photo was taken at twilight on a glorious late spring evening, with just a little colour remaining in the sky.
Description de l’image avec références culturelles et contextuelles
L’image montre une fleur de lotus vue de face, en pleine ouverture. Les pétales, blancs et légèrement teintés de rose au centre, s’ordonnent en couronne régulière autour d’un cœur jaune-orangé. Elle repose sur un fond sombre évoquant l’eau, avec des feuilles visibles en arrière-plan. Une grille géométrique, composée de carrés emboîtés, de lignes diagonales et d’un motif en étoile à huit branches, est superposée à la fleur. Ce dispositif graphique met en valeur la symétrie de la composition et attire l’attention vers le centre lumineux de la fleur.
Ce type de représentation entre en résonance avec la culture vietnamienne, où le lotus est omniprésent dans la vie quotidienne et les arts traditionnels. On le retrouve dans les lacs, les pagodes, les fresques murales et l’art textile. C’est la fleur nationale du Vietnam, choisie pour sa présence naturelle dans les paysages d’eau et son importance dans les rituels culturels et spirituels.
L’image évoque également, par son titre implicite et sa construction visuelle, l’univers graphique de Tintin – Le Lotus Bleu, célèbre album dessiné par Hergé en 1936. Dans cette aventure, Tintin voyage en Chine dans un contexte de tensions politiques et d’occupation japonaise. C’est un tournant dans l’œuvre d’Hergé : conseillé par le peintre chinois Zhang Chongren, il rompt avec les stéréotypes coloniaux de ses albums précédents et adopte un regard plus respectueux et documenté sur l’Asie.
Le “Lotus Bleu” dans l’album est le nom d’une fumerie d’opium, mais il sert aussi de motif visuel unificateur, présent dans les décors, les affiches, et jusqu’au titre. L’esthétique de l’album, très marquée par l’art asiatique traditionnel, s’appuie sur une représentation précise des paysages, des costumes, de la calligraphie et des motifs floraux.
Par cette photographie, c’est tout un imaginaire asiatique qui affleure : celui du dessin, du calme, de la frontalité, et du regard posé — entre observation, mémoire, et construction graphique.
This photo was selected for this book cover. The book (Spanish edition) is available at Amazon Kindle free for Prime members.
Esta foto fue escogida como cubierta de libro. El libro lo puede encontrar en Amazon Kindle libre de cargo para miembros “prime”.
“20 Letras - Evolución de la Escritura ahora” ofrece un sistema abreviado para escribir en español, un procedimiento mucho más eficiente y preciso de escritura que el actual sistema en uso. El método propuesto elimina letras innecesarias, acentos, y otras convenciones que producen dudas al escribir. La obra ofrece una revolución en la escritura que producirá una evolución acelerada hacia un idioma español mucho más simple y competitivo en un mundo de rápido crecimiento. La promesa a las masas de iliteratos de la facilidad de un rápido aprendizaje del idioma está implícita en la adopción de este modelo de escritura. “20 Letras” es un proyecto de cambio, es un desafío a la mente a abandonar un modelo arcaico para adoptar uno mejor. La tarea por delante es descomunal y espero que el amigo lector tenga la curiosidad de ser uno de los primeros en aprender y acoger la futura forma en que escribiremos.
Más sabiduría con menos esfuerzo.
Dr. Hans D. Allender
I was going to copy/paste something from the wonderful, yet potentially highly inaccurate site know as Wikipedia. So I typed in "curve" feeling vaguely witty and only half as lazy as I probaly should have.
What am I met with?
Diagrams and lots of symbols I've spent most of my mathematic career trying to forget. So, I officially fail at fun wikipedia info-mation.
That might be fine because all I really wanted to say is, "Look! The curve of her stomach. Of the back of her knee. Look. Look."
I saw this mural in Roman on our first day as we were just walking and exploring the city. A little research using the card on the wall that refers to "TV BOY" who is a street artist and "CHRISTIAN" that refers to a TV show on SKY TV. More details below are an edited account from a website. The mural, I think, refers to the TV drama.
The street artist strikes again. The new work "CHRISTIAN FACCI IL MIRACOLO" appeared in Rome. A Sky-branded initiative for the launch of the supernatural crime drama Sky Original, broadcast tonight on Sky Atlantic and streaming on NOW
A work by internationally renowned street artist Tvboy has just appeared in via dei Pettinari in Rome, a stone's throw from Ponte Sisto. This time Tvboy left his mark with a stencil dedicated to CHRISTIAN, the supernatural crime drama by Sky Original on Sky Atlantic and streaming on NOW from 28 January.
In the work entitled "Christian make us the miracle", of which you can appreciate the making of in the video at the top of this page, the artist has depicted with his very personal style the two main characters of the series, Christian (played by Edoardo Pesce) and Matteo (Claudio Santamaria), making explicit the bond that unites them regarding Christian's inexplicable miraculous abilities, represented here by the stigmata and golden halo.
It is a wish of hope that clearly emerges from the presence of a dove, a symbol of peace, and from the request for help that Tvboy, putting himself in the shoes of all of us, addresses to the protagonist: an extraordinary miracle, in the style of this new unconventional superhero, right today when it's needed most.
Christian Tvboy
Tvboy, pseudonym of Salvatore Benintende, is a street artist exponent of the Italian NeoPop movement. He is known for the character he created, "Tvboy", an alter ego that he frequently depicts as a symbol of distinction from the mass culture of the new generations, mainly due to television.
Tvboy always manages to cause a sensation with satirical representations with implicit political and social messages.
Tvboy is now an icon of Pop Art and Street Art, recognized all over the world, to the point of being defined by many experts as "the Italian Banksy": from the first urban interventions to exhibitions in important galleries and museums, Tvboy is today among the street best-known Italian artists and loved by the public and boasts participation in personal and collective exhibitions of great interest all over the world.
In 2021, his first solo museum exhibition was held at the Mudec in Milan.
Christian – From tonight
Película de Dios "El último tren" Escena 1 - El regreso del Señor en la carne cumple las profecías bíblicas
www.kingdomsalvation.org/es/videos/prophecy-of-Lord-s-ret...
Sobre Su regreso en los últimos días, el Señor Jesús dijo: "Vosotros también estad preparados, porque el Hijo del Hombre vendrá a la hora que no esperéis" (Lucas 12：40). "Porque como el relámpago al fulgurar resplandece desde un extremo del cielo hasta el otro extremo del cielo, así será el Hijo del Hombre en su día. Pero primero es necesario que El padezca mucho y sea rechazado por esta generación" (Lucas 17：24-25). ¿Cuál es el significado implícito de las citas bíblicas "el Hijo del Hombre vendrá" y "así será el Hijo del Hombre en su día"? Si el Señor regresa con las nubes, ¿cómo hemos de entender que lo haga para que "padezca mucho" y "sea rechazado por esta generación"?
Recomendación: Relámpago Oriental
Scripture quotations taken from LBLA (www.LBLA.com). Copyright by The Lockman Foundation.
Night or Day? Obverse or inverse? Black or White? Nature or Nurture? North or South? Jarring or Consistent? Truth or Lies? Manipulated or Expressed? Implicit or Explicit? Complicit or ...
Again in my home town of St Albans. Multiple exposures of the trees, with one inverted. Nighttime view of the cathedral, faintly in the background. Two very different perspectives of St Albans.
Dates : Ce concours se déroule du mardi 28 juin 2011 au dimanche 4 septembre (minuit).
Participer : Le concours consiste à envoyer par mail à concours@geek-trend.com, 2 photos(max) sur le thème de la farniente.
Les participants peuvent prendre les photos en utilisant le matériel de leur choix (appareil photo compact ou réflex, numérique ou argentique, photophone, caméscope…).
En envoyant vos photos, vous acceptez implicitement et sans réserve le règlement du jeu-concours.
Les résultats
Les résultats seront communiqués, le mardi 13 septembre 2011:
- par mail à tous les participants
- ainsi que sur la page du jeu-concours à l'adresse suivante:
Jury :
- Président: Philippe Echaroux, Photographe professionnel, www.pays-imaginaire.fr
- L'équipe Geek-Trend
Les critères de sélection du jury seront : créativité, esthétique, qualité technique.
Les lots à gagner :
1er lot: Canon EOS 60D, (ou un bon d’achat d’une valeur équivalente, à valoir sur Geek-Trend.com) 959 euros
2ème lot: Tamron 17-50mm VC (ou un bon d'achat d'une valeur équivalente, à valoir sur Geek-Trend.com) 386 euros
3ème lot: Vanguard Uprise 48 (ou un bon d'achat d'une valeur équivalente, à valoir sur Geek-Trend.com) 142 euros
4ème lot: Flash Metz 24 AF (ou un bon d'achat d'une valeur équivalente, à valoir sur Geek-Trend.com) 69 euros
5ème lot: Monopode Giotto's 3260 (ou un bon d'achat d'une valeur équivalente, à valoir sur Geek-Trend.com) 46 euros
6ème au 30ème: Bons d'achat d'une valeur de 15 euros à valoir sur Geek-Trend.com
Autorisation de diffusion :
Chaque participant autorise la société organisatrice à diffuser les photos sur:
- Flickr
- La page dédiée au jeu concours sur notre site Geek-Trend.com (http://www.geek-trend.com/Concours_2011/)
Droits :
La présentation d'une photo implique que le participant en est l'auteur et qu'il dispose de toutes les autorisations nécessaires relatives à sa diffusion, notamment l'accord de toutes les personnes identifiables sur sa photo
The founder of depth psychology, Carl Gustav Jung, whose work is one of the inspirations for this book, carved on the door of his house the phrase: “Vocatus atque non vocatus, Deus aderit” (God, invoked or not invoked, named or unnamed, is present). Faith has its manifest and latent forms; it lives in human consciousness and unconsciousness. The manifest and the hidden, the conscious and the unconscious, the explicit and the implicit (“anonymous”) forms of belief (and unbelief) can sometimes be in tension; hence, in some cases, we can speak of “the belief of unbelievers” and “the unbelief of believers.”
-Notes on Chapter 2, The Afternoon of Christianity The Courage to Change, Tomáš Halík
I was thinking of sand and associated colors during the Holy Week break. It is a period when many reflect on life and death - simultaneously a contrast (like that of the hard tile and the soft carpet) and suggestive of a cycle or repetition. The carpet (associated indoors) pattern with similar colors to tiles (associated outdoors: another aspect of contrast) that it sits on is also suggestive of a pattern, though the repeat structure was not shown in either the carpet or the tiles. The color similarity provided a degree of unity to what was suggestive of contrast/opposition. Unity is similarly suggested by their implicit pattern. The title attempts to mimic, through recursion, this implied pattern.
Lighting was natural. Only a slight tweak in color, to better represent the actual visual image, was made.
I arrived the area amid one of the major storms in New England a few years back. Having scouted the coasts the previous night, I decided to come back in the morning. The light snow however continued to the next day, which actually allowed me to fine tune the composition until the snow tapered off and the sun broke through the clouds, after an hour of waiting.
Other than the rugged shorelines and the powerful crashing waves that I tried to capture in the image, the main subject is the light, which really comes from two sources -- the man-made lighthouse, and the sun. With the implicit juxtapose of these two subjects, I hope to invoke thoughts on how we human beings interact with the nature.
Explore Highest position: 86 on Saturday, March 24, 2007
Museo de Madinat Al-Zahra
(Museo arqueológico y centro de interpretación del Conjunto de Madinat al-Zahra)
Ctra. de Córdoba a Palma del Río, A-431, km 5.5, Córdoba
Arquitectos: Nieto Sobejano Arquitectos: Fuensanta Nieto y Enrique Sobejano. Arquitecto de proyecto Miguel Ubarrechena. Equipo de proyecto Carlos Ballesteros, Pedro Quero y Juan Carlos Redondo. Dirección de obra: Fuensanta Nieto, Enrique Sobejano y Miguel Mesas Izquierdo. Proyecto museográfico: Nieto Sobejano Arquitectos / Frade Arquitectos, S.L. Concurso: 1999 Proyecto: 2002 Finalización: 2009
Los Arquitectos describen su proyecto:
“Los restos de la antigua ciudad hispano-musulmana sugerían un diálogo con quienes mil años antes la habían concebido y construido, pero también con el paciente trabajo de los arqueólogos y con el paisaje agrícola circundante, al que la geometría de las ruinas otorgaba una inesperada cualidad abstracta. El terreno del recinto arqueológico destinado al museo provocaba, no obstante, sentimientos encontrados.
Por una parte, la añoranza de un pasado remoto aún por descubrir impregnaba el paisaje que se extendía hacia la sierra de Córdoba. Por otra parte, el desordenado avance de las construcciones recientes se cernía inquietante sobre el entorno de lo que un día fue la ciudad palatina. Nuestra primera reacción al llegar al lugar habría de marcar, desde el primer momento, la futura propuesta: no debíamos edificar en aquel paisaje.
Ante una extensión de tal amplitud, que aún espera ser excavada, decidimos actuar como lo haría un arqueólogo: no construyendo un nuevo edificio, sino encontrándolo bajo tierra, como si el paso del tiempo lo hubiera ocultado hasta el día de hoy. De esta forma, el proyecto descubre la planta de un museo subterráneo, que articula sus espacios en torno a una secuencia de llenos y vacíos, áreas cubiertas y patios que guían al visitante en su recorrido. A partir del vestíbulo principal se extiende un amplio patio de planta cuadrada que, como un claustro, organiza en torno suyo los espacios públicos principales: salón de actos, cafetería, tienda, biblioteca, y salas de exposición. Un patio profundo y longitudinal articula las zonas de uso privado: administración, talleres de conservación e investigación. Un último patio constituye la prolongación al exterior de las áreas expositivas del museo. Las zonas de almacenamiento, concebidas como grandes espacios visitables iluminados cenitalmente, se funden en los recorridos del edificio con las áreas públicas de exposición y difusión. La propia concepción del proyecto lleva implícito un posible futuro crecimiento, pudiéndose agregar nuevos pabellones como si de nuevas excavaciones se tratase.
El nuevo museo establece casi imperceptiblemente un permanente diálogo con la arquitectura y el paisaje de la antigua medina árabe. La planta de doble cuadrado del museo se hace homotética con la de la ciudad, los jardines evocan la geometría abandonada de una excavación, los muros de hormigón y las cubiertas de acero cortén reflejan en el blanco y el rojo los colores con que originalmente estuvieron estucados los muros de la ciudad califal. La luz, la sombra, la textura, el material, abstraen la riqueza perceptiva que transmiten las ruinas arqueológicas.
El museo de Madinat al-Zahra aparece en el paisaje silenciosamente, como si hubiera sido encontrado bajo tierra, del mismo modo que a lo largo de los años continuará ocurriendo con los restos de la antigua ciudad de los califas omeyas.”
En “Museos de Andalucía” podemos leer:
El Museo, abierto al público en octubre de 2009, es un complejo edificio que contiene los espacios propios de un museo moderno, así como toda la infraestructura dedicada a la gestión patrimonial que demanda un conjunto arqueológico de la magnitud de la ciudad califal. El edificio está concebido como el punto de partida para la visita al yacimiento, con una presentación y exposición museográfica sobre Madinat al-Zahra.
La creación del Museo resuelve varios problemas planteados desde el comienzo de la recuperación del yacimiento en 1911. El primer edificio construido para dar apoyo a la excavación quedó pronto obsoleto por la ingente cantidad de material arqueológico que se fue almacenando en sus instalaciones y por la insuficiencia de espacios expositivos.
El Museo viene a resolver, además, varias demandas del Conjunto, referidas tanto a la difusión y función didáctica de la institución, como a la tarea de custodia y conservación que esta institución tiene encomendada.
Destaca en el edificio su ubicación exterior a la ciudad, aprovechando uno de sus caminos originales de acceso, de forma que no condiciona ni las excavaciones futuras ni el crecimiento en extensión de las mismas. Este compromiso de la nueva infraestructura con el yacimiento se extiende también al paisaje, pues el proyecto planteado por el estudio de arquitectura Nieto y Sobejano la concibe como una edificación que se oculta parcialmente en el territorio, para no interferir ni en la contemplación del paisaje ni en el fundamental protagonismo de la ciudad califal.
Se trata, en definitiva, de una infraestructura, ideada para facilitar la comprensión del yacimiento y desarrollar a todos los niveles sus potencialidades. Se concibe como una infraestructura para impulsar nuevos proyectos de investigación, conservación y difusión de la ciudad de Madinat al-Zahra y toda la ordenación territorial que constituye su entorno. Cuenta con los siguientes servicios:
Área cultural, expositiva y didáctica: Auditorio, Exposición permanente, Biblioteca Especializada "Manuel Ocaña", Aula didáctica y Sala de seminarios. Área de conservación, investigación y Administración: Almacenes, Talleres de restauración, Centro de documentación, Oficinas y despachos. Otros servicios: Tienda con librería y Cafetería-restaurante.
Premios:
2009: Finalista Premio Intervención en Patrimonio Arquitectónico Español. The International Architecture Award. The Chicago Athenaeum Museum.
2010: Aga Khan Award for Architecture.
2011: Piranesi Prix de Rome. Obra Seleccionada Premio de Arquitectura Contemporánea de la Unión Europea – Premio Mies van der Rohe. Finalista Premio Arquitectura Española. Finalista Premios FAD
2012: European Museum of the Year Award
www.nietosobejano.com/project.aspx?i=1&t=MADINAT_ALZA...
www.metalocus.es/es/noticias/nieto-sobejano-arquitectos-m...
www.museosdeandalucia.es/cultura/museos/CAMA/?lng=es
NietoSobejano Arquitectos
Cet homme A traversé le Temps ... !
Voici une expression que l’on entend parfois et qui signifie implicitement que « Cet homme est toujours là, vivant » !
Mais à quoi a-t-il passé son temps ? A cette question lui seul peut nous répondre, encore faudrait-il qu’il en prenne le temps !
Dans cette image, le temps est passé tellement vite que les aiguilles en sont tombées ! Mais alors comment va-t-on maintenant compter le temps ? Celui qu’il nous reste, parce que celui qui est passé nous savons le décrire puisque nous l’avons traversé !
Regardons cet homme qui a véritablement traversé le temps, mais comment a-t-il fait ? Il est probable que simplement il soit resté vivant à regarder défiler les heures, et même que peut-être il a pris tout son temps.
Nous comprenons bien que ce temps d’avant était son temps, mais désormais il se retrouve avec le temps derrière lui !
Viendrait-il de rentrer dans un autre temps ?
Rapprochons-nous de l’œuvre de R.Magritte « La réponse imprévue -1933 », représentant une porte que l’on a enfoncée pour entrer par effraction dans une pièce.
Ne retrouve-t-on pas cette notion d’effraction dans la manière avec laquelle notre personnage est passé « en force » à travers son temps pour rentrer dans un autre espace inconnu, ainsi que le ferait le cambrioleur entrant dans une maison.
Runa Photography © 2011
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All rights reserved.
*Ver en caja de luz
El nombre Tierra Media es una traducción literal del término anglosajón middangeard (midgard), refiriéndose a este mundo, las tierras habitables del hombre. Tolkien tradujo «Tierra Media» como Endor (o a veces Endórë) y Ennor en las lenguas élficas (quenya y sindarin, respectivamente). Mitológicamente, el norte de Endor se convirtió en Eurasia al transformarse la tierra primitiva en la tierra esférica que hoy conocemos.
El escenario de la Tierra Media ocurre en un periodo ficticio en el pasado de la Tierra. Tolkien insistió en que la Tierra Media es la Tierra en varias de sus cartas, de las cuales una (núm. 211) calculó el fin de la Tercera Edad en 6.000 años antes de sus propios tiempos. La acción de los libros está en gran parte limitada al noroeste del continente de Endor, implícitamente correspondiente con la Europa de hoy. La Historia de Arda se divide en varias Edades: El hobbit y la mayor parte del texto de El Señor de los Anillos tratan exclusivamente sobre sucesos que ocurren hacia finales de la Tercera Edad del Sol y que concluyen hacia el comienzo de la Cuarta Edad del Sol, mientras que El Silmarillion ocurre principalmente en la Primera Edad del Sol. El mundo (Arda) era originalmente plano pero fue transformado en esférico durante la Segunda Edad del Sol por Eru Ilúvatar, el creador del Universo.
Fuente: wikipedia
Charlie has only ONE important message as the New Year begins - Say No To Fireworks! Every other message and wish is implicit from that...
2018 John McKeen. All Rights Reserved.
This image is an original work and may not be reproduced without permission of the photographer / artist. It is not available for use on websites, blogs or other media without explicit written permission and may not be downloaded or altered in any way.
SEVILLA EN FERIA (ANDALUCÍA/ESPAÑA) SPAIN
El Traje de Flamenca o, popularmente, Traje de Gitana, es la indumentaria femenina por excelencia y la única vestimenta regional del mundo que se actualiza según las tendencias de la moda cada año. Es el protagonista absoluto de la Feria de Abril de Sevilla.
Origen e Historia
El origen del traje es sorprendentemente humilde y funcional:
Orígenes Humildes (Siglo XIX): El traje tiene su origen en las sencillas batas de percal con volantes que vestían las campesinas y las mujeres gitanas que asistían a las ferias de ganado. Estas batas eran prácticas para el trabajo en el campo o para vender en el mercado, con volantes en el bajo que facilitaban el movimiento.
Adopción por la Clase Alta: Poco a poco, las clases adineradas de Sevilla y Andalucía comenzaron a imitar este atuendo. Lo hicieron más sofisticado, añadiendo encajes, mejores tejidos y complementos más elaborados (pendientes, pulseras, mantoncillos).
Consagración (1929): La Exposición Iberoamericana de Sevilla de 1929 consagró definitivamente el traje de flamenca como el atuendo oficial e indispensable para asistir a la Feria de Abril, elevándolo a símbolo de la cultura andaluza y española.
Características Esenciales
Aunque el diseño evoluciona, el traje mantiene elementos icónicos:
Elemento
Descripción
VolantesElemento principal. Adornan tanto la falda (a veces llamada "falda de capa" o "canastera") como las mangas. Aportan movimiento y espectacularidad al caminar o bailar.
TejidosTradicionalmente algodón y percal, pero hoy se utilizan popelín, crespón, gasa y tejidos elásticos (punto de seda, lycra) que son más ligeros y cómodos para las altas temperaturas.
EstampadoEl lunar (o topo) es el estampado clásico e indiscutible, a menudo blanco sobre un fondo de color. También son muy comunes los diseños lisos y, cada vez más, los estampados florales o combinaciones de prints.
EscoteSuele ser clásico: pico, redondo o cuadrado.
SiluetaEl traje es generalmente ajustado hasta la cadera o media pierna para realzar la figura, abriéndose en una falda de vuelo con numerosos volantes.
Los accesorios son tan importantes como el vestido y deben ir perfectamente coordinados:
Flores: Se colocan en el pelo, generalmente en la parte superior o a un lado, sujetando el moño bajo.
Peineta y Peine(cillos): Piezas decorativas de carey o materiales similares que se colocan para sostener el peinado.
Pendientes: Deben ser grandes y llamativos, aros o diseños "rocieros" que enmarcan la cara.
Pulseras: Varias pulseras a juego en ambas muñecas.
Mantoncillo: Una pieza cuadrada o triangular de seda o tela bordada con flecos que se cruza sobre el pecho y se sujeta con un broche. Es un elemento clave de elegancia.
Zapatos: Generalmente zapatos de tacón medio o cuñas de esparto que son más cómodas para caminar por el albero (suelo de la Feria). Las deportivas o calzado informal están prohibidos.
Tendencias Actuales (Moda Flamenca)
La moda flamenca es una industria que se presenta anualmente en pasarelas como SIMOF (Salón Internacional de la Moda Flamenca) y We Love Flamenco. Algunas tendencias destacadas incluyen:
Color Vivo: Explosión de colores más allá del clásico rojo y negro, con protagonismo para el fucsia, el azul klein, el verde esmeralda, y tonos corales/mandarinas.
Mangas con Volumen: Se experimenta con mangas más abullonadas, mangas de farol o con volantes más cortos y ligeros para mayor comodidad.
Faldas y Siluetas: Se populariza el estilo canastero (volantes cosidos en horizontal) y los trajes más ligeros que priorizan la fluidez y la comodidad.
Fusión: Diseños más modernos que incorporan detalles de alta costura, como cortes cut-out sutiles o trajes de dos piezas (falda y blusa) para mayor versatilidad.
Protocolo y Consejos
Obligatoriedad: No es obligatorio vestir de flamenca para entrar en la Feria de Sevilla, pero es altamente recomendable para sumergirse en la tradición, especialmente durante el día.
La Noche del Pescaíto: Tradicionalmente, la primera noche de la Feria (la del Pescaíto) no se asiste vestida de flamenca, sino de traje de cóctel o media etiqueta.
Prohibiciones Implícitas: Es un protocolo no escrito que desaconseja llevar ropa informal (vaqueros, deportivas, shorts), así como utilizar la flor o el mantoncillo si no se va vestida con el traje de flamenca completo.
The Ford flathead V8 (often called simply; flathead or flatty when the context is implicit, such as in hot-rodding) is a V8 engine with a flat cylinder head 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 used by only a small minority of makes, 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.
Source: Wikipedia - en.wikipedia.org/wiki/Ford_flathead_V8_engine
Stephie, mi flor más bella cumplirías 29 años, tu energía está implícita en estas flores que ahora nutren mi alma.
Espero con amor y entusiasmo mi partida, me acompañas siempre, porque vives en mi corazón,,,
Nuestro tiempo es infinitamente corto, viene toda una eternidad juntas donde reina el Amor, el Gozo y la Felicidad Absoluta ,,,
Siento una profunda gratitud hacia Dios por haberme dado la oportunidad de concebirte,,,
Te extraño tanto y te amo cada día más y más.
No alcanzan las palabras a expresar lo que mi corazón siente por ti ,,, va más allá de un simple,,, te amo. <3<3<3
Foto pertencente ao portefólio que ficou em 3º lugar no EISA Maestro Photo Contest 2011-2012 a nível nacional
Foto Publicada na revista - Photo Published in the Magazine DP Arte Fotográfica do Mês de Maio de 2011
EXPLORE 18-11-2010
www.facebook.com/NunoSousaFotografia
Torre de Belém - Lisboa
A Torre de Belém é um dos monumentos mais expressivos da cidade de Lisboa. Localiza-se na margem direita do rio Tejo, onde existiu outrora a praia de Belém. Inicialmente cercada pelas águas em todo o seu perímetro, progressivamente foi envolvida pela praia, até se incorporar hoje à terra firme.
O monumento se destaca 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).
Classificada como Património Mundial pela UNESCO, em 7 de Julho de 2007 foi eleita como uma das Sete maravilhas de Portugal.
Originalmente sob a invocação de São Vicente de Saragoça, padroeiro da cidade de Lisboa, designada no século XVI pelo nome de Baluarte de São Vicente a par de Belém e por Baluarte do Restelo, esta fortificação integrava o plano defensivo da barra do rio Tejo projetado à época de João II de Portugal (1481-95), integrado na margem direita do rio pelo Baluarte de Cascais e, na esquerda, pelo Baluarte da Caparica.
O cronista Garcia de Resende foi o autor do seu risco inicial, tendo registrado:
"E assim mandou fazer então a (...) torre e baluarte de Caparica, defronte de Belém, em que estava muita e grande artilharia; e tinha ordenado de fazer uma forte fortaleza onde ora está a formosa torre de Belém, que el-Rei D. Manuel, que santa glória haja, mandou fazer; para que a fortaleza de uma parte e a torre da outra tolhessem a entrada do rio. A qual fortaleza eu por seu mandado debuxei, e com ele ordenei a sua vontade; e tinha já dada a capitania dela [a] Álvaro da Cunha, seu estribeiro-mor, e pessoa de que muito confiava; e porque el-Rei João faleceu, não houve tempo para se fazer" (RESENDE, Garcia de. Crónica de D. João II, 1545.),
A estrutura só viria a ser iniciada em 1514, sob o reinado de Manuel I de Portugal (1495-1521), tendo como arquitecto Francisco de Arruda. Localizava-se sobre um afloramento rochoso nas águas do rio, fronteiro à antiga praia de Belém, e destinava-se a substituir a antiga nau artilhada, ancorada naquele trecho, de onde partiam as frotas para as Índias. As suas obras ficaram a cargo de Diogo Boitaca, que, à época, também dirigia as já adiantadas obras do vizinho Mosteiro dos Jerónimos.
Concluída em 1520, foi seu primeiro alcaide Gaspar de Paiva, nomeado para a função no ano seguinte.
Com a evolução dos meios de ataque e defesa, a estrutura foi, gradualmente, perdendo a sua função defensiva original. Ao longo dos séculos foi utilizada como registro aduaneiro, posto de sinalização telegráfico e farol. Os seus paióis foram utilizados como masmorras para presos políticos durante o reinado de Filipe II de Espanha (1580-1598), e, mais tarde, por João IV de Portugal (1640-1656). O Arcebispo de Braga e Primaz das Espanhas, D. Sebastião de Matos de Noronha (1586-1641), por coligação à Espanha e fazendo frente a D. João IV, foi preso e mandado recluso para a Torre de Belém.
Sofreu várias reformas ao longo dos séculos, principalmente a do século XVIII que privilegiou as ameias, o varandim do baluarte, o nicho da Virgem, voltado para o rio, e o claustrim.
Classificada como Monumento Nacional por Decreto de 10 de Janeiro de 1907, é considerada como Património Mundial pela UNESCO desde 1983. Naquele mesmo ano integrou a XVII Exposição Europeia de Arte Ciência e Cultura.
Epicureanism is neither an automatic default mode nor the assured result of modern science. It is a particular worldview which cannot assume pre-eminence but must make its way in the implicit market-place. Thinkers from many contexts, assuming many different worldviews, have puzzled over these questions, and it will not do for the Epicurean to insist that all possible opponents must play the game on the Epicurean home ground (studying the world without reference to God, and thinking about God without reference to the world), with the home team always playing with the wind, the slope and their own cheering crowd.
-History and Eschatology Jesus and the Promise of Natural Theology., N. T. Wright