View allAll Photos Tagged Insignificant
"I can feel you always."
View on black
today is a seemingly rough day for me. i can get through this.
A lo largo de mi vida, he visto detalles insignificantes, que a simple vista, no significaban nada, pero con el paso del tiempo esos pequeños detalles lo son todo, son ´´ el ser o el no ser ´´.
Por tanto me gustaría dedicar esta fotografía a esas personas que consideran los pequeños detalles mas que eso, que insignificantes, porque realmente son los que verdaderamente importan, y marcan el camino de cada persona.
En mi caso, esos pequeños detalles me han marcado alegrías, y por tanto voy a seguir confiando en ellos, aunque otros seres no confíen, y luchare por ser feliz, que a día de hoy me puede considerar afortunado por lo que tengo, familia, amigos (quizás no muchos, pero siempre se ha dicho que es mejor pocos muchos, que muchos pocos), y la felicidad por marcarme nuevos retos, y ayudar en lo que este en mi mano a mis amigos, ya que ellos también lo harían por mi.
Esta foto esta realizada en el Museo de Escultura Policromada de Valladolid
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
Standing next to this man-made behemoth (those propeller blades are each 90 feet long) can make a man feel insignificant. The diameter of the base is about 15'. They need a crane to lift the crane that works on these things. To stand under the hub that holds the propellers blades on the tower and hear it croak and scream, well, it gave me shivers and I am fearless ;-)
As the title suggests though, I have another 'thing' to mention today. I went to a funeral for a cousins of my Father's. I did not know Beulah very well, so when the stories from other relatives started I found it hard not to listen to them. It seems that Beulah was a sharing and giving type of person. She taught 1st graders. In fact the theme of the sermon was "If you can read this, hug a Teacher." After dinner, as the stories flew, I learned that Beulah was even more then a caring teacher. One cousin stood up and lamented about that in desperation she called on Beulah for some type of emergency. Then someone else stood up with another emergency story ... and then another ... It was immensely displayed that Beulah was the person that so many called on in emergencies and called just for advice. She was always there to help whomever, whenever.
Beulah stood tall. Beulah was more reliable then this behemoth pictured here. Beulah made this man feel more insignificant than anything man-made!
Each day, we are surrounded by seemingly insignificant objects, taking them from one place to the other, or leaving them on a table for weeks, without paying any attention to them. We ignore or forget them, using things only when we need to, making sure they don’t interfere or inhabit our space. But what if they were not so stable and subservient? What if they could swivel, bounce or even fly. And what if they did so all at the same time?
We want to imagine a place where objects could live and move, harmoniously, and of their own accord. Without interfering with each other these objects would bounce, roll, turn and cross each other’s paths.
This experiment is about re-discovering our daily surroundings.
This is the making of the interactive video that was originally made for If You Could Collaborate exhibition. Each object is assigned to a letter on the keyboard, and can be activated or deactivated at any time. The online version will be soon available to play with at dansedance.com
------------------------
CREDITS
------------------------
DIRECTOR / Julien Vallée
CONCEPT / Julien Vallée & Nicolas Burrows
D.O.P. / Simon Duhamel
FLASH DEVELOPMENT / Jérémi Dallaire
SOUND DESIGN / Nicolas Burrows & René-Pierre T.-Guérin
MOTION DESIGN / Julien Vallée
MUSIC / Montoire
ADDITIONAL KEYING / Pierre-Olivier Nantel & Marie-Michele Bergeron
Watch this video on Vimeo. Video created by Julien Vallée.
Even before Leipzig was first mentioned in a document in 1015, a Slavic settlement existed here. The city was founded in 1165 when Margrave Otto the Rich of Meissen granted city and market rights to the city at the intersection of the Via Regia and the Via Imperii.
Leipzig was in the Margraviate of Meissen, which became part of the Electorate of Saxony in 1439. Leipzig then belonged to the Duchy of Saxony, whose capital was chosen to be Dresden, which had been insignificant compared to Leipzig or Meissen. Leipzig was often the place where the state parliament met, but Leipzig was never a residence city or a bishop's seat and has always been shaped by the urban bourgeoisie.
The University of Leipzig was founded in 1409 as "Alma Mater Lipsiensis" and was thus one of the three oldest universities in Germany. After being elevated to the status of "Reichsmessestadt" (imperial trade fair city) in 1497 and an extension of the staple right by the future Emperor Maximilian I, Leipzig became a trade fair city of European standing. It developed into the most important German trading center for the exchange of goods between Eastern and Western Europe. Alongside London, the Leipziger Brühl became the international trade center for the fur industry, and the important role played by the Leipzig Jewish community was closely linked to it.
In 1539, the Reformation was finally introduced in Leipzig by Luther and Justus Jonas. Over decades, the development of Leipzig was characterized above all by the constantly improving living conditions. As a trading and trade fair city of increasing importance, Leipzig benefited from the wealthy Leipzig merchant class.
The Thirty Years' War was a severe cut in the prosperous development of the city. Between 1631 and 1642 the city was besieged five times, from 1642 to 1650 it was occupied by the Swedes.
The "Völkerschlacht" (Battle of Leipzig) near Leipzig took place in 1813. In this battle, the allied armies of Austria, Prussia, Russia and Sweden defeated Napoleon's troops and their allies which ultimately led to Napoleon's banishment to the island of Elba.
During WWII there were frequent air raids on the city, which led to considerable destruction of the city center.
In 1989, the Monday demonstrations that started at the Nikolaikirche helped herald the end of the GDR. With the occupation of the district administration for state security by demonstrators on December 4, 1989, state surveillance measures ended in Leipzig.
At the beginning of the 20th century, Leipzig was a world trade center for the fur trade and fur processing.
In 1908, Alfred Selter had the architect Alfons Berger build the commercial building that still exists today. The artistic design was taken care of by the architect Georg Heinsius von Mayenburg, who in turn commissioned the sculptor Ernst Hottenroth to design the decorative elements. The house shows both elements of the reform style and Art Nouveau influences. In 1917 Carl Weinert became a partner, and in 1919 the company carried the company name that is still on the facade.
The house survived WWII almost undamaged. The company was expropriated in 1946 and the house was later used primarily by "VEB Pelzhandel". After reunification (1989/90), the community of heirs Selter and Weinert became the owners of the house. In the early 1990s, the house was completely renovated and the roof area was extended.
Homebound today due to gammy eye, I was stuck for a subject for day four. This houseplant is a mystery to me for several reasons. I can't find out what it's called via enquiry or inverstigation. It was given to me by my mum, who was given several of them by a friend who didn't know what it was called. My husband loves it and keeps repotting it, which just makes it get bigger. It's nearly two feet tall now and has these extremely insignificant flowers budding occasionally from the fleshy stem. They are barely two or three millimetres tall (sorry for the mixed sizing...lol). I really dislike it, but it refuses to die. The biggest mystery is why I don't do the one thing that I know will kill it - put it in a cold place - I guess I just can't do that to my beloved man...;-)
Lower Devonian fossilized Crinoid ~370-400 million years old. It hails from the Hunsruck slate formation in Bundbach, Germany.
Lower Devonian fossilized starfish (Furcaster palaeozoicus). It hails from the Hunsruck slate formation in Bundbach, Germany. Also a distinctly less aesthetically appealing, but no less important Orthoceras on the left edge.
Piazza del Popolo is a large urban square in Rome. The name in modern Italian literally means "People's Square", but historically it derives from the poplars (populus in Latin, pioppo in Italian) after which the church of Santa Maria del Popolo, in the northeast corner of the piazza, takes its name.
The piazza lies inside the northern gate in the Aurelian Walls, once the Porta Flaminia of ancient Rome, and now called the Porta del Popolo. This was the starting point of the Via Flaminia, the road to Ariminum (modern-day Rimini) and the most important route to the north. At the same time, before the age of railroads, it was the traveller's first view of Rome upon arrival. For centuries, the Piazza del Popolo was a place for public executions, the last of which took place in 1826.
Contents
1 Valadier's design
1.1 Fountains
2 Urbanisation in three dimensions
3 Notes
4 See also
5 References
6 External links
Valadier's design
An Egyptian obelisk of Ramesses II from Heliopolis stands in the centre of the Piazza.
The entrance of the Tridente from Piazza del Popolo, defined by the "twin" churches of Santa Maria in Montesanto (left, built 1662-75) and Santa Maria dei Miracoli (right, built 1675-79). The Via del Corso exits between the two churches.
Porta del Popolo
The layout of the piazza today was designed in neoclassical style between 1811 and 1822 by the architect Giuseppe Valadier,[1] He removed a modest fountain by Giacomo Della Porta, erected in 1572,[2] and demolished some insignificant buildings and haphazard high screening walls to form two semicircles, reminiscent of Bernini's plan for St. Peter's Square, replacing the original cramped trapezoidal square centred on the Via Flaminia.
Valadier's Piazza del Popolo, however, incorporated the verdure of trees as an essential element; he conceived his space in a third dimension, expressed in the building of the viale that leads up to the balustraded overlook from the Pincio (above, right).
An Egyptian obelisk of Sety I (later erected by Rameses II) from Heliopolis stands in the centre of the Piazza. Three sides of the obelisk were carved during the reign of Sety I and the fourth side, under Rameses II. The obelisk, known as the Flaminio Obelisk or the Popolo Obelisk, is the second oldest and one of the tallest obelisks in Rome (some 24 m high, or 36 m including its plinth). The obelisk was brought to Rome in 10 BC by order of Augustus and originally set up in the Circus Maximus. It was re-erected here in the piazza by the architect-engineer Domenico Fontana in 1589 as part of the urban plan of Sixtus V. The piazza also formerly contained a central fountain, which was moved to the Piazza Nicosia in 1818, when fountains, in the form of Egyptian-style lions, were added around the base of the obelisk.[3]
Looking from the north (illustration, right), three streets branch out from the piazza into the city, forming the so-called "trident" (il Tridente): the Via del Corso in the centre; the Via del Babuino to the left (opened in 1525 as the Via Paolina) and the Via di Ripetta (opened by Leo X in 1518 as the Via Leonina) to the right. The twin churches (the chiese gemelle) of Santa Maria dei Miracoli (1681) and Santa Maria in Montesanto (1679), begun by Carlo Rainaldi and completed by Bernini and Carlo Fontana, define the junctions of the roads. Close scrutiny of the twin churches reveals that they are not mere copies of one another, as they would have been in a Neoclassical project, but vary in their details, offering variety within their symmetrical balance in Baroque fashion.
A 1kg+ chunk of the Campo del Cielo meteorite. It rusts pretty bad, don't get one of these if you live by the beach.
"There is nothing insignificant in the world. It all depends on the point of view."
- Johann Wolfgang von Goethe
Another of the insignificant buildings just outside the Bhaktapur Durbar Square- I really cannot recall why I took this picture despite my local Bhaktapur telling me that it is not part of the Durbar Square so don't worry about it. I was probably curious about the 'CBR Bhaktapur 1986' sign on it, so I probably took this picture hoping to find out later from the net what this is all about. The CBR Organization is social NGO particularly devoted to promoting and protecting the rights of disabled children and the physically challenged Community Based Rehabilitation. This organization was set up by the Bhaktapur Jaycees in 1985 (the sign says 1986 though), to work on disability issues. The Bhaktapur CBR is the first organization in Nepal to implement CBR program formally in a comprehensive model for the rehabilitation of the physically challenged adults and children in their own community. (Bhaktapur Durbar Square, Nepal, Oct/ Nov 2019)
"There is nothing insignificant in the world. It all depends on the point of view."
- Johann Wolfgang von Goethe
Mesa Arch in Canyonlands National Park near Moab Utah.
One feels both awe and a sense of greatness, and at the same time small and insignificant when standing at this site. The canyonlands below stretch as far as the eye can see, and are deep enough for base-jumping. Here, one feels as a spectator to creation, I imagine much in the same way angels and deities would feel.
I felt particularly excited this night, because it was a full moon behind thin clouds, which made for great lighting--I didn't need my headlamp when I parked my car and hiked the short distance to Mesa Arch at midnight--On top of that, the bowl of the canyons was filled with fog.
I'd never been to Mesa Arch before, and I didn't realize that without a super-wide fisheye or panoramic lens, it is impossible to see the landscape through the arch without getting really close to the edge. I took a couple of exposures with my 15mm fisheye, but the composition just wasn't what I wanted. So, using my fisheye, I took 3-30 minute long exposures from left to right, and later combined them as a panorama using Photoshop CS4.
On a personal note, I think that it is really cool how rugged and foolhardy explorers looking for gold stumbled across such cool natural wonders in the middle of nowhere, and now we have parking lots within about a mile of each of them. Thank you civil engineers and conservationists!
Prints available at my printshop.
I like the comfy-cozy feeling of familiarity just as much as anyone. But I also like to explore and investigate new things. That's part of what makes life interesting. Think of how boring your existence would be if there was no change at all... to anything... even to the small and insignificant crap... like a website's homepage.
Like many, I had a bit of a 'WTF moment' when I first saw the new flickr homepage, and do not care for some of the changes. But you know what... it took only a few return visits to get used to.
Unfortunately, I've spent some time reading the feedback about the new homepage. Fortunately, I was not disappointed and saw some really interesting and stupid comments:
"This isn't the flickr I paid for"
Really... one stinkin' homepage constitutes ALL of flickr?
"I won't be renewing my pro account"
So sorry to hear that... buh-bye...
"we all need to find another website. This one isn't going to work anymore."
You're absolutely RIGHT! the whole site is useless now!!! Okey-dokey, where'd I put that link to Webshots...
"Bring back the old homepage - or else I will leave Flickr when my account runs out next year!!"
This genius doesn't quite grasp the concept of forcing someone into immediate action through empty threats...
"ai no tet ai em not rutelli bat "
I have absolutely no clue what that means... but it looks like whining to me.
"The most pointless useless and destructive upgrade ever seen on a site"
This person's profile says that they've "been doing photography since Sept 2007". Apparently that's when they first discovered the internet as well...
"Where's the undo button?"
Here 'ya be... Undo Button (next time, use Google before asking stupid questions)
"Bloody awful!! The beginning of the end or the end of the beginning?"
We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender...
"WTF was the point of this? It's like programmer masturbation!"
Here's a towel... now go away...
"Count me in as another who loathes the Recent Activity goulash that's just been inflicted."
HEY! I happen to LOVE goulash...
"Wow... seems like the new home page is really going over well."
Okay... I liked that one...
"I can't believe i paid to be on this shit site!"
I can't believe I made it to page five in the feedback thread...
"Listen!!!!!!!!!!!!!!!!!!!!!!!!! "
You can hear the ocean...
"really cant be bothered to figure it out"
You 'figured it out' at least once before... how hard could it be this time? Or have you turned into a total moron since you signed up?
"This is just TRAGIC!"
OMG!!! IT'S ARMAGEDDON!!!!! THE WORLD IS COMING TO AN END!!!! AND IT'S NOT EVEN DECEMBER 21ST, 2012 YET!!! OMG, IT'S A TRAGEDY!!! WHAT ARE WE GONNA DO?!?!?!?!?!?!?!?!?
Now... having said all that, I will agree with the majority of the whiners... the new 'Activity Settings' interface itself is something of an over-functional clusterfuck. And it would be nice to have mutually exclusive segregation without the need to continually check and un-check a bunch of selection boxes. But if you find the default combination of activity on your images and those of others to be confusing... well, I'm sorry, but you really need to exercise your brain more often.
The flickr homepage is just ONE page on a truly gargantuan website, the heart and soul of which is the massive collection of photos and images we all post to our 'photostreams'.
To hell with the homepage.
Accept it, or not.
But stop moaning like little children and move on to something more important...
Fade to Black...
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
Day 20 of February Photo Challenge. All photos and processing will be done on my phone (Android).
Today's theme is "itsy bitsy"
Hesperia, CA - Families seem to thrive when they spend time together. It may seem insignificant at the time but even just sitting around watching the dust settle in the afternoon sky can eventually have a momentous place in memory. Getting close to a loved one is in our nature of nurture (although as a child it seems a bit annoying) there is a reason for it. That was unusually mild for a summer's day; a slight breeze cooled the shadowed porch as a confused rooster called out periodically in the background. I think the rooster just liked the sound of his voice. Longtime friends, BBQ, good beer, and a cool summer's day. There's not a whole lot one can complain about.
Each day, we are surrounded by seemingly insignificant objects, taking them from one place to the other, or leaving them on a table for weeks, without paying any attention to them. We ignore or forget them, using things only when we need to, making sure they don’t interfere or inhabit our space. But what if they were not so stable and subservient? What if they could swivel, bounce or even fly. And what if they did so all at the same time?
We want to imagine a place where objects could live and move, harmoniously, and of their own accord. Without interfering with each other these objects would bounce, roll, turn and cross each other’s paths.
This experiment is about re-discovering our daily surroundings.
This is the making of the interactive video that was originally made for If You Could Collaborate exhibition. Each object is assigned to a letter on the keyboard, and can be activated or deactivated at any time. The online version will be soon available to play with at dansedance.com
---
Watch this video on Vimeo. Video created by Julien Vallée.
Bought this ring on a very happy day in New Orleans, I think in 1993. Spent the day wandering around the Quarter with Todd, drinking then browsing, browsing then drinking. I remember boiled crawfish and beer and an LSU basketball game on in the background of the restaurant we were in; I remember Irish coffee; and I remember buying this ring, for what was not an insignificant amount of money to me at the time, but was probably about $30. I fell in love with the stone, and I still love it. It's lapis lazuli, and it has little glints of pyrite in it. Buying that ring is what started my tradition of buying a bit of jewelry, usually a ring, when I am particularly happy. Since I've just retired such a ring (bought in February in San Francisco) for a while, it has felt soothing to wear one that has lost none of its happy associations.
A stream of stars appears to be falling out of NGC 3628, which lies some 35 million ly distant. This tidal stream is not an insignificant brook, but more of a river. It is the largest tidal stream in our cosmic neighborhood. This image only captures approximately 1/3 of the total size of the tidal tail, which is estimated to be close to 300,000 ly long. (Three times the length of the galaxy)
Major galactic interactions are responsible for the large scale stream seen in this image. However, there are also smaller scale interactions also taking place in the stream. It is believed that an Omega Centauri like structure lies in the stream as a result of a passing dwarf galaxy colliding with the tidal tail. (White star-like structure in the midst of the first 3rd of the stream)
Last year astronomer David Martinez-Delgado discussed this object while presenting at an IAU symposium focusing on Low Surface Brightness objects in our universe. (See “Ultra-deep Imaging with Amateur Telescopes” arxiv.org/pdf/2001.05746.pdf?fbclid=IwAR3SlxNgNaQeagCkwNy...)
The paper references Mark Hansons impressive ultra-deep mosaic of this area that captures the entire stream. (Note the inset image in the article taken by the Subaru 8.2m telescope that shows the Centauri like object in question.)
As I feel the awe the accompanies looking to objects like this, I also love the possibilities we have of learning more about them. The great physicist Henri Poincare reminds us that besides the wonder we feel in looking up, the study of astronomy has other useful purposes…
”Astronomy is useful because it raises us above ourselves; it is useful because it is grand; …. It shows us how small is man's body, how great his mind, since his intelligence can embrace …this dazzling immensity, where his body is only an obscure point, and enjoy its silent harmony."
— Henri Poincaré
Image Acquisition info:
Date: February 2020
Location: Fairview, UT
Telescope: AT 16 RC
Camera: Atik 16200
LRGB: 630:190:170:170 (19 hours)
"The landscapes are insignificant for large landscapers,. Rare and remarkable landscapes are to small" - Friedrich Nietzsche
Photo: Yuri Borba - Date: 04.05.2014 | The rare beauty of the sunrise at Stone Guaratiba, West Zone of Rio
Hunter Project Soul ™ © | VISIONS OF EVERYDAY Series - AUTUMN COLORS.
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"As paisagens insignificantes existem para os grandes paisagistas; as paisagens raras e notáveis são para os pequenos."– Friedrich Nietzsche
Foto: Yuri Borba - Dia: 05/04/2014 | A rara beleza que do amanhecer em Pedra de Guaratiba, Zona Oeste do Rio.
Projeto Caçador de Almas ™© | Série VISÕES DO COTIDIANO – CORES DO OUTONO.
I've been thinking a lot lately about my flickr stream and about my photography work in general. There are roughly 36 million flickr photostreams and a staggering 3.5 billion photos! Why do I even bother? Why add another insignificant 500+ photos to that? Why add another photostream? My photos won't be the best, my editing will be flawed, and my contact list will always be smaller then someones. As I ponder on this I reach the conclusion that I am not here for me, and nor am I here only for you. I am here for the same One who chose to place my life in a world of 6.7 billion other people. God has plans for my life, a blueprint of fantastic design that will bring ultimate glory to Himself. Part of that plan is to be a Christian, to be saved, to show forth the glory of his great grace and mercy when he chooses to keep me when I so often fall away. Along with that comes the use of my talents, abilities, and those things I am good at or have been gifted in. God has blessed me immensely with photography. I was born with a great eye for photographic beauty to even be able to see image potential. Earlier this year my brother, (who is also a phenomenal photographer himself) and I started a small business selling photo cards and a few months ago we made our first net profits after only a few months of work. Then someone I haven't even met paid for a CS4 web design premium that was upgraded to CS5 without my asking. In light of these things and a sensing that God was moving me in this area I spent some of the money that He has so richly provided for me from my farm job and bought a Canon Rebel T2i. So now I find myself here, caught up in it all and searching for my niche in this industry. Photography is still a hobby and I won't go into it for a living, for God has called me to be a missionary, but I won't ever give it up either, not until He asks me too. With the understanding of how small a part I play I want to change my drive when posting. There are tons of snow flakes (photographers) out there producing, just posting any old thing, even great things, people like me. But I am a Christian, part of a community, a "snow ball" that is a chosen race, a royal priesthood, a holy nation, a people for His own possession, that we might proclaim the excellencies of him who called us out of darkness into his marvelous light. 1 Peter 2:9 Focus on the last part, we are called that we might proclaim the excellencies of Him who called us. That is what I want to do, proclaim the excellencies of Him who called me. I want to be a missionary who declares this though all that he does. This is not just a then thing, it is also a now thing, I must start today, start posting for His glory by posting for your encouragement and refreshment. I must use my unique talents and imagination to take pictures and videos that show I have been taken out of darkness and brought into His marvelous light. Think on this, it should make those of us who are apart of this Christian snowball community to get really excited; excited to wake up, excited to go to work, excited to live for we are in the light! The world needs to know this! Let's stand out amid the other 36,000,000 flickerers to show glory to God as we are called to do. That won't all look the same person to person, nor should it, but ask God to guide and help you do all for His glory.
On a damp day back in October 1999 Mark, Stu, John and I made the ten mile hike to the foot of Ben Alder. Yes, there was an open bothy available for our use, but we had carried in all our campoing gear and stoically decided to camp in the rain rather than use the dry bothy.
Upon arrival we set up camp and then set off and climbed not just Ben Alder, but its neighbour Beinn Bheoil. Needless to say with limited daylight availble in October we descended for the last hour in the dark. All we could see in the distance was the faint glow of the tent where John had returned to.
In this picture the other three are seen giving scale to the enviroment not too far from the camp.
Ginkgo biloba (Native to China) 2020 photo - Common Name: Maidenhair tree, Size at 10 years: 60x50ft., Green Foliage, Insignificant flower, USDA Hardiness Zone 3, In Garden Bed N1,02 for 22.8 YEARS (-). Planted in 1997.
ACS: Ginkgo (Ginkgo biloba; in Chinese and Japanese 銀杏, pinyin romanization: yín xìng, Hepburn romanization: ichō or ginnan), is also known as the Maidenhair Tree. It is a unique species with no close living relatives. The ginkgo is a living fossil, recognizably similar to fossils dating back 270 million years. Native to China, the tree is widely cultivated and was introduced early to human history. It has various uses in traditional medicine and as a food.
The oldest living tree species. Only living species in the division Ginkgophyta. A single tree can live as long as 1,000 years and grow to a height of 120 feet.
pruh-nuhn-see-ey-shuh n: GINK-oh by-LOE-buh
#Ginkgo #Maidenhairtree
Additional photos of this plant:
Why does an insignificant landscape feature such as Jug Rock call to me? That is one of the mysteries of the universe. Once I receive such a call, I am obligated to answer it by examining the feature up close.
Taken from near the end of the trail to Delicate
Arch, where the trail has a drop-off on one side.
Taken at St Mary's lighthouse from the cliffs at Old Hartley 7/3/10.
Huge expanse of sky and not a cloud in this morning.
and yes, I've now got a name. More to do with impending coomon license laws than the need to self promote but it doesn't hurt!
Kathmandu Durbar Square or Hanuman Dhoka Durbar Square is the plaza in front of the old royal palace of the then Kathmandu Kingdom. It is one of three Durbar (royal palace) Squares in the Kathmandu Valley in Nepal, all of which are UNESCO World Heritage Sites.
The Durbar Square is surrounded with spectacular architecture and vividly showcases the skills of the Newar artists and craftsmen over several centuries. The royal palace was originally at Dattaraya square and was later moved to the Durbar square location.
The Kathmandu Durbar Square holds the palaces of the Malla and Shah kings who ruled over the city. Along with these palaces, the square surrounds quadrangles revealing courtyards and temples. It is known as Hanuman Dhoka Durbar Square, a name derived from a statue of Hanuman, the monkey devotee of Lord Ram, at the entrance of the palace.
HISTORY AND CONSTRUCTION
The preference for the construction of royal palaces at this site dates back to as early as the Licchavi period in the third century. Even though the present palaces and temples have undergone repeated and extensive renovations and nothing physical remains from that period, names like Gunapo and Gupo, which are the names referred to the palaces in the square in early scriptures, imply that the palaces were built by Gunakamadev, a king ruling late in the tenth century. When Kathmandu City became independent under the rule of King Ratna Malla (1484–1520) the palaces in the square became the royal palaces for its Malla kings. When Prithvi Narayan Shah invaded the Kathmandu Valley in 1769, he favored the Kathmandu Durbar Square for his palace. Other subsequent Shah kings continued to rule from the square until 1896 when they moved to the Narayan Hiti Palace.
The square is still the center of important royal events like the coronation of King Birendra Bir Bikram Shah in 1975 and King Gyanendra Bir Bikram Shah in 2001.
Though there are no written archives stating the history of Kathmandu Durbar Square, construction of the palace in the square is credited to Sankharadev (1069–1083). As the first king of the independent Kathmandu City, Ratna Malla is said to have built the Taleju temple in the Northern side of the palace in 1501. For this to be true then the temple would have had to have been built in the vihara style as part of the palace premise surrounding the Mul Chok courtyard for no evidence of a separate structure that would match this temple can be found within the square.
Construction of the Karnel Chok is not clearly stated in any historical inscriptions; although, it is probably the oldest among all the courtyards in the square. The Bhagavati Temple, originally known as a Narayan Temple, rises above the mansions surrounding it and was added during the time of Jagajaya Malla in the early eighteenth century. The Narayan idol within the temple was stolen so Prithvi Narayan Shah replaced it with an image of Bhagavati, completely transforming the name of the temple.
The oldest temples in the square are those built by Mahendra Malla (1560–1574). They are the temples of Jagannath, Kotilingeswara Mahadev, Mahendreswara, and the Taleju Temple. This three-roofed Taleju Temple was established in 1564, in a typical Newari architectural style and is elevated on platforms that form a pyramid-like structure. It is said that Mahendra Malla, when he was residing in Bhaktapur, was highly devoted to the Taleju Temple there; the Goddess being pleased with his devotion gave him a vision asking him to build a temple for her in the Kathmandu Durbar Square. With a help of a hermit, he designed the temple to give it its present form and the Goddess entered the temple in the form of a bee.
His successors Sadasiva (1575–1581), his son, Shiva Simha (1578–1619), and his grandson, Laxmi Narsingha (1619–1641), do not seem to have made any major additions to the square. During this period of three generations the only constructions to have occurred were the establishment of Degutale Temple dedicated to Goddess Mother Taleju by Shiva Simha and some enhancement in the royal palace by Laksminar Simha.
UNDER PRATAP MALLA
In the time of Pratap Malla, son of Laksminar Simha, the square was extensively developed. He was an intellectual, a pious devotee, and especially interested in arts. He called himself a Kavindra, king of poets, and boasted that he was learned in fifteen different languages. A passionate builder, following his coronation as a king, he immediately began enlargements to his royal palace, and rebuilt some old temples and constructed new temples, shrines and stupas around his kingdom. There also took the massacre called Kot Parva where the queen, prime minister, head of the states,and other people with guards died. This massacre took place in the court yard inside the palace.
During the construction of his palace, he added a small entrance in the traditional, low and narrow Newari style. The door was elaborately decorated with carvings and paintings of deities and auspicious sings and was later transferred to the entrance of Mohan Chok. In front of the entrance he placed the statue of Hanuman thinking that Hanuman would strengthen his army and protect his home. The entrance leads to Nasal Chok, the courtyard where most royal events such as coronation, performances, and yagyas, holy fire rituals, take place. It was named after Nasadya, the God of Dance, and during the time of Pratap Malla the sacred mask dance dramas performed in Nasal Chok were widely famed. In one of these dramas, it is said that Pratap Malla himself played the role of Lord Vishnu and that the spirit of the Lord remained in the king's body even after the play. After consulting his Tantric leaders, he ordered a stone image of Lord Vishnu in his incarnation as Nara Simha, the half-lion and half-human form, and then transferred the spirit into the stone. This fine image of Nara Simha made in 1673 still stands in the Nasal Chok. In 1650, he commissioned for the construction of Mohan Chok in the palace. This chok remained the royal residential courtyard for many years and is believed to store a great amount of treasure under its surface. Pratap Malla also built Sundari Chok about this time. He placed a slab engraved with lines in fifteen languages and proclaimed that he who can understand the inscription would produce the flow of milk instead of water from Tutedhara, a fountain set in the outer walls of Mohan Chok. However elaborate his constructions may have been, they were not simply intended to emphasize his luxuries but also his and the importance of others' devotion towards deities. He made extensive donations to temples and had the older ones renovated. Next to the palace, he built a Krishna temple, the Vamsagopala, in an octagonal shape in 1649. He dedicated this temple to his two Indian wives, Rupamati and Rajamati, as both had died during the year it was built. In Mohan Chok, he erected a three roofed Agamachem temple and a unique temple with five superimposing roofs. After completely restoring the Mul Chok, he donated to the adjoining Taleju Temple. To the main temple of Taleju, he donated metal doors in 1670. He rebuilt the Degutale Temple built by his grandfather, Siva Simha, and the Taleju Temple in the palace square. As a substitute to the Indreswara Mahadeva Temple in the distant village of Panauti he built a Shiva temple, Indrapura, near his palace in the square. He carved hymns on the walls of the Jagannath Temple as prayers to Taleju in the form of Kali.
At the southern end of the square, near Kasthamandap at Maru, which was the main city crossroads for early traders, he built another pavilion named Kavindrapura, the mansion of the king of poets. In this mansion he set an idol of dancing Shiva, Nasadyo, which today is highly worshipped by dancers in the Valley.
In the process of beautifying his palace, he added fountains, ponds, and baths. In Sundari Chok, he established a low bath with a golden fountain. He built a small pond, the Naga Pokhari, in the palace adorned with Nagakastha, a wooden serpent, which is said he had ordered stolen from the royal pond in the Bhaktapur Durbar Square. He restored the Licchavi stone sculptures such as the Jalasayana Narayana, the Kaliyadamana, and the Kala Bhairav. An idol of Jalasayana Narayana was placed in a newly created pond in the Bhandarkhal garden in the eastern wing of the palace. As a substitute to the idol of Jalasayana Narayana in Buddhanilkantha, he channeled water from Buddhanilkantha to the pond in Bhandarkhal due bestow authenticity. The Kalyadana, a manifestation of Lord Krishna destroying Kaliya, a water serpent, is placed in Kalindi Chok, which is adjacent to the Mohan Chok. The approximately ten-feet-high image of terrifyingly portrayed Kal Bhairav is placed near the Jagannath Temple. This image is the focus of worship in the chok especially during Durga Puja.
With the death of Pratap Malla in 1674, the overall emphasis on the importance of the square came to a halt. His successors retained relatively insignificant power and the prevailing ministers took control of most of the royal rule. The ministers encountered little influence under these kings and, increasingly, interest of the arts and additions to the square was lost on them. They focused less on culture than Pratap Malla during the three decades that followed his death, steering the city and country more towards the arenas of politics and power, with only a few minor constructions made in the square. These projects included Parthivendra Malla building a temple referred to as Trailokya Mohan or Dasavatara, dedicated to Lord Vishnu in 1679. A large statue of Garuda, the mount of Lord Vishnu, was added in front of it a decade later. Parthivendra Malla added a pillar with image of his family in front of the Taleju Temple.
Around 1692, Radhilasmi, the widowed queen of Pratap Malla, erected the tall temples of Shiva known as Maju Deval near the Garuda image in the square. This temple stands on nine stepped platforms and is one of the tallest buildings in the square. Then her son, Bhupalendra Malla, took the throne and banished the widowed queen to the hills. His death came early at the age of twenty one and his widowed queen, Bhuvanalaksmi, built a temple in the square known as Kageswara Mahadev. The temple was built in the Newari style and acted as a substitute for worship of a distant temple in the hills. After the earthquake in 1934, the temple was restored with a dome roof, which was alien to the Newari architecture.
Jayaprakash Malla, the last Malla king to rule Kathmandu, built a temple for Kumari and Durga in her virginal state. The temple was named Kumari Bahal and was structured like a typical Newari vihara. In his house resides the Kumari, a girl who is revered as the living goddess. He also made a chariot for Kumari and in the courtyard had detailed terra cotta tiles of that time laid down.
UNDER THE SHAH DYNASTY
During the Shah dynasty that followed, the Kathmandu Durbar Square saw a number of changes. Two of the most unique temples in the square were built during this time. One is the Nautale, a nine-storied building known as Basantapur Durbar. It has four roofs and stands at the end of Nasal Chok at the East side of the palace. It is said that this building was set as a pleasure house. The lower three stories were made in the Newari farmhouse style. The upper floors have Newari style windows, sanjhya and tikijhya, and some of them are slightly projected from the wall. The other temple is annexed to the Vasantapur Durbar and has four-stories. This building was initially known as Vilasamandira, or Lohom Chok, but is now commonly known as Basantapur or Tejarat Chok. The lower floors of the Basantapur Chok display extensive woodcarvings and the roofs are made in popular the Mughal style. Archives state that Prthivi Narayan Shah built these two buildings in 1770.
Rana Bahadur Shah was enthroned at the age of two. Bahadur Shah, the second son of Prithvi Narayan Shah, ruled as a regent for his young nephew Rana Bahadur Shah for a close to a decade from 1785 to 1794 and built a temple of Shiva Parvati in the square. This one roofed temple is designed in the Newari style and is remarkably similar to previous temples built by the Mallas. It is rectangular in shape, and enshrines the Navadurga, a group of goddesses, on the ground floor. It has a wooden image of Shiva and Parvati at the window of the upper floor, looking out at the passersby in the square. Another significant donation made during the time of Rana Bahadur Shah is the metal-plated head of Swet Bhairav near the Degutale Temple. It was donated during the festival of Indra Jatra in 1795, and continues to play a major role during the festival every year. This approximately twelve feet high face of Bhairav is concealed behind a latticed wooden screen for the rest of the year. The following this donation Rana Bahadur donated a huge bronze bell as an offering to the Goddess Taleju. Together with the beating of the huge drums donated by his son Girvan Yudha, the bell was rung every day during the daily ritual worship to the goddess. Later these instruments were also used as an alarm system. However, after the death of his beloved third wife Kanimati Devi due to smallpox, Rana Bahadur Shah turned mad with grief and had many images of gods and goddesses smashed including the Taleju statue and bell, and Sitala, the goddess of smallpox.
In 1908, a palace, Gaddi Durbar, was built using European architectural designs. The Rana Prime Ministers who had taken over the power but not the throne of the country from the Shahs Kings from 1846 to 1951 were highly influenced by European styles. The Gaddi Durbar is covered in white plaster, has Greek columns and adjoins a large audience hall, all foreign features to Nepali architecture. The balconies of this durbar were reserved for the royal family during festivals to view the square below.
Some of the parts of the square like the Hatti Chok near the Kumari Bahal in the southern section of the square were removed during restoration after the devastating earthquake in 1934. While building the New Road, the southeastern part of the palace was cleared away, leaving only fragments in places as reminders of their past. Though decreased from its original size and attractiveness from its earlier seventeenth-century architecture, the Kathmandu Durbar Square still displays an ancient surrounding that spans abound five acres of land. It has palaces, temples, quadrangles, courtyards, ponds, and images that were brought together over three centuries of the Malla, the Shah, and the Rana dynasties.
VISITING
Kathmandu's Durbar Square is the site of the Hanuman Dhoka Palace Complex, which was the royal Nepalese residence until the 19th century and where important ceremonies, such as the coronation of the Nepalese monarch, still take place today. The palace is decorated with elaborately-carved wooden windows and panels and houses the King Tribhuwan Memorial Museum and the Mahendra Museum. It is possible to visit the state rooms inside the palace.
Time and again the temples and the palaces in the square have gone through reconstruction after being damaged by natural causes or neglect. Presently there are less than ten quadrangles in the square. The temples are being preserved as national heritage sites and the palace is being used as a museum. Only a few parts of the palace are open for visitors and the Taleju temples are only open for people of Hindu and Buddhist faiths.
At the southern end of Durbar Square is one of the most curious attractions in Nepal, the Kumari Chowk. This gilded cage contains the Raj Kumari, a girl chosen through an ancient and mystical selection process to become the human incarnation of the Hindu mother goddess, Durga. She is worshiped during religious festivals and makes public appearances at other times for a fee paid to her guards.
WIKIPEDIA
Chicago looking practically insignificant in the expanse of lake and prairie.
Chicagoist "Around Town" October 20, 2010
Thanks, Chuck!
And WBEZ "Cook County's air quality gets an "F" from the American Lung Association April 24, 2013..
Thanks, Chris!
Day 150 - self portrait of sorts... taken inside the Ray House - an insignificant little farm house that matters to no one but me. I daydream about it - cant stop photographing, and often change my route to drive by it. Today was the first day I ventured inside...
Travis just appeared behind the glass while I was shooting through the front windows and smiled like the devil. Yes! He got in somehow! - I thought to myself. This guy is like me, he is just as adventurous in nature, he hears my radio station. God Bless this boy and whoever sent him to me to be my friend! :D
One day when I grow up and become rich, I will buy this house and live out the rest of my days. :)
'Such things we bury within us. Such fears, voices, seeming insignificancies, memories and scars.
Imagine an internal strobe light that flashes the detritus of a life lived endlessly. Imagine there might be a code, a purpose, a line through the very heart of all the events and shadows of your life. Imagine sewing and stiching every element of your personal history together in an attempt to understand the present so obsessively that the past becomes your every waking moment.
Loud, bright and clear. In focus. Imagine you can remember everything, every detail of every experience. Imagine these are the thoughts that occupy you, inhabit you and you can't turn their volume down.'
Read the full blog post here : jamortram.posterous.com/100088425
part of the existing project ; insignificant.
All photos taken on iPhone 6
Macro x15
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