Frans Hals (1581/85-1666)
View allAll Photos Tagged Instrumentals
Cuánto nos cuesta subir,
caminando despacito,
por senderos que te elevan
y te permiten volver
la mirada hacia atrás
a esos bellos rincones
donde el agua se ensimisma
y tú descubres que allí
se forma una laguna
que agrada cuando la ves
desde el lugar que tu llegas.
Qué poco cuesta mirar
cuando te sientes arriba
y disfrutas el cansancio
de esa larga caminata
que hasta arriba te ha llevado.
Déjame que ya respire,
que mirando estos lugares
descubro que hasta el agua
para mirar se detiene.
Instrumental: www.youtube.com/watch?v=7tBFhD0zKjQ
All items in photo -
Swan, family
marketplace.secondlife.com/p/Swan-family/11432108
Egret
marketplace.secondlife.com/p/Egret/8847669
Birds
marketplace.secondlife.com/p/Birds/8307631
Flamingo
marketplace.secondlife.com/p/Flamingo/17289037
.:revival:. pink flowers
marketplace.secondlife.com/p/revival-pink-flowers/16079028
Guzheng is by JOMO was a gift might still be.
Hair is by Tram @ c88
maps.secondlife.com/secondlife/8%208/39/226/1086
Tree on stones with grass - Old World - Medieval / Rustic
marketplace.secondlife.com/p/Tree-on-stones-with-grass-Ol...
Robe:
#1 RARE Long Robe (Male&Female) {egosumaii}
Köln
NRW
„... Mein eigener Standpunkt und meine Handlungen definieren nicht nur mich. Sondern sie definieren vielleicht auch meine Wertigkeit. Bin ich an einem verbotenen Ort, tue ich etwas verbotenes? Wenn ja, dann stelle ich mir nicht die Frage: Warum? Sondern: Warum nicht? Ich akzeptiere die Ablehnung, ebenso wie die Konsequenzen. Aber wer hat die Deutungshoheit? Wem gehört die Stadt? Immer und immer wieder diese eine Frage... Keine Kultur ist unschuldig. Und ich bin es auch nicht... Der Wandel Ende der 90er Jahre. Der Wildwuchs ist damals außer Kontrolle geraten. Zu viel Unkraut erstickt die Blüten. Malen für das Internet oder irgendein Magazin. Alle wollten Alles und das sofort. From Nowhere to Fame. Wem genügen heute schon 15 Minuten Ruhm? Wer geht heute noch auf ein Jam? Internettutorials und seelenloses Biten ersetzen jetzt die harte Schule des Fehler machen. Vieles von dem, was Du heute siehst, hat nichts mit Graffiti zu tun. Nicht mit dem,was ich darunter verstehe. Ein Lebensstil und keine aufgesetzte Attitüde. Der Außenseiter wird zum Einzelgänger. Und so wurde die Fiktion für mich zur Realität. Absurd. Und doch macht es vieles erträglicher. Ich sehe meine Welt als eine Grafik. Und verliere mich nur zu gerne in den Details, die andere manchmal überhaupt nicht wahrnehmen. Du kannst den Dingen Leben einhauchen. Dem Licht, den Formen und den Linien. Für mich gehören die vier Elemente zusammen. So, wie die vier Jahreszeiten zum Leben dazugehören. Der Blütezeit folgt das Vergehen... Das Gedächtnis der Stadt...“
(Sloxy) & 12Vince - Wolkenkratzer (Instrumental)
Dash has been instrumental in helping to shape Dusty's behavior and personality. At 10 years of age, Dash and I can almost read each other's minds. Just a look or one word and Dash knows what to do and what I want. And vice versa. Not so at all with Dusty. He'll get there but I find myself getting a little impatient at times.
It's been getting warm over here in the Cochella Valley. We've had a few days over 100 F this week so we get up a little earlier for a morning walk and playtime and then we head indoors for most of the day.
Dusty and Dash don't waste a second of their play time. It's full on until Dash signals he's had enough.
'Coast Guard 175' aka Leonardo (Agusta) AW.189 G-MCGO seen running various approaches at Shoreham today
276A4280
In my opinion, every day is National Popcorn Day, but today is the "official" day. You could also celebrate the classic instrumental song "Popcorn" by Hot Butter. Or do both.
Enjoy!!
Vladimir: You should have been a poet.
Estragon: I was (Gesture towards his rags.) Isn't that obvious?
InstruMental Breakdown performs in front of Lost Druid Brewpub, during ...
Avondale Estates, Georgia, USA.
18 March 2023.
***************
▶ Photo by Yours For Good Fermentables.com.
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You send me a photo, I will send you a photo.
Da Black Napkin!
www.flickr.com/groups/you_send/
www.facebook.com/groups/575239169176991/
As if it were a message in a bottle, send out your postal address / Someone, somewhere, will send you a real, paper photo. Use their address to send them one of yours. Be patient and have plenty stamps ready for this amazing photo sharing exercise. Be ready to receive many unexpected gifts! —
"Viva la Vida - Coldplay (Instrumental Cover) presented by A Few Good Men
MOVIL SAMSUNG EXPRESS
(IMPERFECT IMAGES SERIE).
TEXTURES BY JENDRIX
in Spotify...Jendrix Garcia
Suizen (吹禅) (“blowing Zen”) is a Zen practice consisting of playing the traditional Japanese shakuhachi bamboo flute as a means of attaining self-realization.[1] Suizen was traditionally practised by the Komusō (“monks of emptiness”), the Zen Buddhist monks of the Fuke sect of Japan who flourished during the Edo period (1600 to 1868).
Instrumental music is rare in all Buddhist practice where instruments usually accompany ritual chants if they are used at all. With suizen, the playing of the shakuhachi as a spiritual exercise is at the core of the religious practice, making it unique in the world of Buddhism.[2][3]
The practice of suizen may be understood in the context of both ancient Buddhist and Chinese classics which exerted a profound influence on Japanese music, which used awareness of sound as a medium of enlightenment.[1]
Breath is also of fundamental significance as the standard practice of sitting Zen meditation (zazen) and so there is a natural link between zazen and suizen. The type of breathing technique required varies from school to school within suizen.[4]
The concept of ichi on jo butsu – the attainment of enlightenment through a single note – became an important aspect of the Fuke sect’s ‘blowing Zen’ as it developed in later periods.[5] The sound produced by the instrument, which was taught along strict and traditional lines in the suizen schools, is not considered important. It is the practice of blowing which leads to enlightenment.
ift.tt/1T8yLwf #studiolife #hiphop #londonlife #undeground #unsigned #drop #worldstar #newmusic #flstudio #instrumental #musiclife #goodmusic #hype #ldn #soundcloud #popping #bass #instalike #sbtv #grmdaily #dblock #standup #pluto #mashup #musicvideo #mix #trapmusic #likeforlike #grime #sosolid
Sax Zim Bog. Minnesota.
A lifer which I have searched for on previous trips to Michigan and Manitoba with friend David Cree, and we turned up empty.
Was very happy to find this female at close range at eye level, and get to observe her foraging from tree to tree. I used a guide for the first half day of my visit, and he helped me locate this bird, and orientate me to the area, which I roamed solo after that for much of a week. The guide told me about a Sax Zim Bog telegraph ap which proved to be very helpful for real-time information on sightings in the Bog. It was fun to contribute my sightings that way as well, and this ap was instrumental in helping me locate my Great Gray owls, which were hard to come by this year.
Fire inside a steam engine at the 2007 Metcalfe Fair
Keep the fire burnin'
Let it keep us warm
The world will keep on turnin'
Let it turn you on
Let us not stop learnin'
We can help one another be strong
Let us never lose our yearnin'
To keep the fire burnin' all night long
You've been changing so much
I'm not sure your in touch with what's real
You just come and you go
Never letting me know how you feel
And I'm livin here in doubt
There's so much to talk about
I know that we can work it out
And we can keep the fire burnin'
Let it keep us warm
The world will keep on turnin'
Let it turn you on
Let us not stop learnin'
We can help one another be strong
Let us never lose our yearnin'
To keep the fire burnin' all night long
We've been through this enough
It gets rough but there's nowhere to run
This is where we belong
We are strong, we can never give up
If we wanted to we could
But we've always understood
To keep lookin' for the good
(Instrumental break)
Ooooh, Keep the fire burnin'
Let it keep us warm
The world will keep on turnin'
Let it turn you on
Let us not stop learnin'
We can help one another be strong
Let us never lose our yearnin'
To keep the fire burnin' all night long
(Instrumental break)
Keep the fire burning, keep the fire burnin', keep the fire burnin' (fading out to the end)
- Keep The Fire Burnin' by REO Speedwagon
Piano Through Glass!
This is SOOC with no cropping or software modification whatsoever. I considered cropping the right side of the image where the power outlet is but decided that maintaining the reflection continuity of the trees, lights and buildings off of the painting on the wall was more definitive.
This piano is on display for sale in a store in Winter Park, Fl. The shot was taken from the outside through the glass window showing the reflection of the building behind me and across the street. It's also showing trees and shrubs on the other side of the street as well as sunlight reflections shining directly off of the piano..
View LARGE or ORIGINAL if you have time..
SAVE VENICE has been instrumental in refurbishing the church over a decade.
www.savevenice.org/project/church-of-san-sebastiano
The Chiesa di San Sebastiano is a 16th-century church located in the Dorsoduro sestiere of the Italian city of Venice. The church houses a cycle of paintings by the artist Paolo Veronese, as well as paintings by Tintoretto and Titian.
San Sebastiano is located on the site of a former hospice which was founded by the confraternity of Gerolimine fathers in 1393. Close to the hospice was an Oratory, built in 1396, and dedicated to Santa Maria Full of Grace and Justice. This was later expanded, and in 1468 was converted into a church dedicated to Saint Sebastian the martyr who was one of the chief patrons against plague and pestilence in Europe. The church is therefore regarded as one of the great Plague-Churches of Venice, built to temper divine punishment, as the plague was viewed in the Middle Ages.
Following a commission by Brother Bernardo Torlioni, the Verona-born painter Paolo Veronese spent three periods between 1555 and 1570 decorating various parts of the interior of San Sebastiano. This included paintings, ceiling canvases and frescoes on the nave and altar walls. Veronese also decorated parts of the sacristy and choir, as well as completing the organ decorations and a large altar piece.
(Wikipedia)
The Warsaw Barbican (Polish: barbakan warszawski) is a barbican (semicircular fortified outpost) in Warsaw, Poland, and one of few remaining relics of the complex network of historic fortifications that once encircled Warsaw. Located between the Old and New Towns, it is a major tourist attraction.
The barbican was erected in 1540 in place of an older gate to protect Nowomiejska Street. It was designed by Jan Baptist the Venetian, an Italian Renaissance architect who lived and worked in the Mazowsze region of 16th century Poland and was instrumental in the redesign of the 14th-century city walls, which by that time had fallen into disrepair. The barbican had the form of a three-level semicircular bastion manned by fusiliers. It was 14 meters wide and 15 meters high from the bottom of the moat, which surrounded the city walls, and extended 30 meters from the external walls.
Almost immediately after its inception, the 4-tower barbican became an anachronism serving virtually no practical purpose. This was largely a result of the rapid advancement in artillery power. It was used in the defense of the city only once, during the Swedish invasion of Poland, on 30 June 1656, when it had to be recaptured by the Polish army of Polish king John II Casimir from the Swedes.
In the 18th century, the barbican was partially dismantled as its defensive value was negligible, and the city benefited more from a larger gate which facilitated movement of people and goods in and out of the city. In the 19th century, its remains were incorporated into newly built apartment buildings (kamienica). During the interwar period, in 1937–1938, Jan Zachwatowicz reconstructed part of the walls and the western part of the bridge, demolishing one of the newer buildings in the reconstruction process. However, a lack of funds delayed the barbican's planned complete reconstruction, and the 1939 invasion of Poland by Nazi Germany put the plans on hold.
During World War II, particularly the Siege of Warsaw (1939) and the Warsaw Uprising of 1944, the barbican was largely destroyed, as were most of the Old Town's buildings. It was rebuilt after the war, during 1952–1954, on the basis of 17th-century etchings, as the new government decided it would be cheaper to rebuild the barbican and the nearby city walls as a tourist attraction than to rebuild the tenements. In its reconstruction, bricks were used from historic buildings demolished in the cities of Nysa and Wrocław; most of the barbican was rebuilt, save for two exterior gates and the oldest tower on the side of the Old Town. It is currently a popular tourist attraction. (Wikipedia)
Another Place Soundtrack is a collection of instrumental and vocal pieces shaped for late hours, dim rooms, and attentive listening. The album drifts through post-punk, coldwave, ambient noir, new wave - influenced minimalism, and dream pop - soaked shoegaze textures, built from deep sub-bass, blurred analog pads, melodic basslines, restrained drum patterns, and fragments of guitar and synth that appear, dissolve, and return altered. These tracks don’t resolve so much as inhabit space, functioning as atmosphere rather than narrative - music designed for the Another Place venue and its unfolding stories. It’s sound for standing inside time as it softens, where the outside world recedes and presence, repetition, and quiet emotional tension become the only currency.
Copyright: 2026
Track# 4 - Static Between Us
Artist: The Dyers
“Static Between Us” captures a single late night at Another Place defined by proximity without connection. Two people share the same space and sound but never fully intersect, caught in interference rather than resolution. The steady bass, dim light, and repeating atmosphere mirror the quiet tension of something almost happening but never forming. By the end, nothing has changed outwardly - yet the night leaves a subtle residue, a lingering static from a moment that existed only in awareness, not action.
Lyrics:
Lights stay on without a reason
Bass repeats its own mistake
People move in straight lines
I stand where nothing breaks
Your shape crosses the room once
Then dissolves into the sound
Every moment feels recorded
Then quietly wound down
No signal
No release
Just distance learning how to speak
I’m here
Still here
After everything stops
I’m here
Still here
Watching time lock
Shoes stick to the floor
Static in my jaw
I don’t know what I expected
I don’t expect more
Emotion held in check
Like something misdirected
I’m here
Still here
Nothing returns
I’m here
Still here
Waiting unlearned
I’m here
Still here
No meaning applied
I’m here
Still here
With the sound inside
Bass keeps breathing
Room stays dim
Another Place
Closes in
Williamsburg Brooklyn LM: maps.secondlife.com/secondlife/TheRefuge/96/224/2001
Yukie Sato / Choi Sun Bae / A23H / Kang Minsuk / Joe Foster
Alfred 23 Harth’s arrival in Seoul marked a significant moment that catalyzed the formation and nurturing of several enduring off-site experimental music circles, of which two foundational examples are Park Chang-Soo’s Houseconcert series starting in 2002 and Bulgasari, initiated in 2003 by Yukie Sato (later led by Lee Hanjoo). These circles, strongly supported by A23H in their early stages, have had lasting influence and continue to shape Seoul’s avant-garde music landscape today. The Houseconcert series is recognized for its intimate settings that break down traditional barriers between performer and audience, hosting myriad musicians and establishing a notable history of fostering experimental performances. Bulgasari, curated by Yukie Sato and later Lee Hanjoo, evolved as a key site for improvised music and sonic experimentation, regularly showcasing innovative music and performance art with a regional and international scope.
By 2005, the emergence of Relay, a more digitally specialized circle founded by Ryu Hankil, expanded the experimental music infrastructure. Alfred 23 Harth supported Relay in its formative years, and through his contacts—including a key liaison with the city cultural office—Relay gained vital resources, enabling them to invite foreign musicians and gain international recognition through press coverage such as in The Wire and invitations to European festivals. From Relay’s activities arose dotolim around 2009, a venue and concert series that has become a stable hub for improvised and experimental music performances to this day.
Between 2000 and 2005, Harth also actively engaged with multiple off-site circles in Seoul, growing in presence with projects like the electro-acoustic improvisation and video collaboration “Provisional Government” with Kim Hyung Tae at Sal Bar in 2002. His collaborative network expanded by inviting international musicians such as Joe Foster, whom he introduced to the Seoul avant-garde and Tokyo experimental scenes through CDs, festivals, concerts, and art performances from 2003 onwards, or Phil Minton, Wolfgang Stryi, Kevin Norton, Carl Stone, Fabrizio Spera, John Bell, Ned Rothenberg, Axel Dörner and Nicola L.Hein.
Harth’s collaborations extended into projects such as Ensemble Naeil and frequent performances at the Park Chang-Soo Houseconcert series and Bulgasari events, including archival recordings made at LaubhuetteStudio Seoul, like "Seoul U'You" (2002), Ensemble Naeil live (2003), and ballet music for the "Mercury Mix" (2004). These recordings and performances saw the pairing of Korean experimental musicians Choi Sun Bae, Kim Eun-Young, Kim Gyu Hyoung, and others with A23H’s boundary-crossing improvisational style.
Moreover, major performances like the Revolving Door at Seoul Museum of Art (2004) for the Yi Soonjoo exhibition and concert collaborations at institutions including KBS TV and Dankook University (with musicians such as Choi Sun Bae, Kae SoO-jung, David Choi Changu, Chris Varga) highlight A23H’s central role in bridging experimental music with broader arts and academic venues in Seoul. Throughout the years, A23H remained active in Relay and later Dotolim performances, including curated festivals and gallery exhibitions/concerts such as Happyi Mistake (2014-2019) and mosaic concert series curated by Sunjae Lee (2024/5).
Overall, Alfred 23 Harth’s arrival and sustained presence in Seoul from 2000 onwards were instrumental in supporting, shaping, and internationalizing Seoul’s off-site experimental music culture, providing mentorship, artistic collaborations, and organizational contacts that seeded multiple vital circles which remain active and influential in the contemporary scene today. This legacy is encapsulated in a rich archive of live recordings, collaborative projects, and documented performances that continue to resonate within Seoul’s vibrant avant-garde community.
This is the alabaster tomb of Thomas and Katherine Lane, which dates from around 1585. The Lanes were wealthy landowners in Staffordshire and sympathisers of the recusants. The tomb was originally placed near the altar and later moved to this chapel, where it is rather hemmed in. Along the side at least five daughters are shown, plus two who must have died in infancy, and presumably Thomas Lane himself on the left-hand side. He was a distinguished soldier instrumental in the rescue of Charles II, hence his armour. The tomb is thought to have been carved by Robert Royley of Burton on Trent.