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The Grand Prismatic Spring is the largest hot spring in the USA, and the third largest in the world (after Frying Pan Lake in New Zealand and Boiling Lake in Dominica). It is located in the Midway Geyser Basin, in Yellowstone National Park, a World Heritage Site.
The spring is ~370 feet (110 m) in diameter & is 160 feet (50 m) deep. The spring discharges 560 US gallons (2,100 L) of 160 °F (70 °C) water per minute. The bright, vivid colors in the spring are the result of microbial mats around the edges of the mineral-rich water. The mats produce colors ranging from green to red; the amount of color in the microbial mats depends on the ratio of chlorophyll to carotenoids and on the temperature gradient in the runoff. In the summer, the mats tend to be orange and red, whereas in the winter the mats are usually dark green. The center of the pool is sterile due to extreme heat. The deep blue color of the water in the center of the pool results from the intrinsic blue color of water. The effect is strongest in the center of the spring, because of its sterility and depth. en.wikipedia.org/wiki/Grand_Prismatic_Spring
Sony a6300. Sony 16-50mm F3.5-5.6. F11, 1/200 sec, ISO 100. Thanks for viewing!
Le Musée de la Photographie de Maastricht, situé au Vrijthof, présente une exposition saisissante de l'artiste photographe Jimmy Nelson. Intitulée « Entre la mer et le ciel », l'exposition présente 65 photographies et deux vidéos représentant vingt communautés néerlandaises en costumes traditionnels. Ces images, aux ciels majestueux, ont été prises dans de pittoresques villages de pêcheurs, des paysages de polders et des villes fortifiées. Avec son œuvre vibrante, Nelson célèbre la beauté, la richesse culturelle et l'authenticité de l'humanité.
Le photographe anglo-néerlandais est internationalement reconnu pour ses livres révolutionnaires « Before They Pass Away » (2013) et « Homage to Humanity » (2018), qui présentent des photographies captivantes de peuples autochtones uniques dans les régions les plus reculées du monde. L'élégant beau livre « Between the Sea and the Sky » (2022) est un récit visuel et artistique explorant le riche patrimoine culturel de la patrie d'adoption de Nelson et présente plus de 350 portraits intimistes et paysages emblématiques.
Avec cette série inspirante, Jimmy Nelson rend un hommage personnel aux traditions ancestrales. Il allie l'élégance intemporelle du naturalisme hollandais à l'art du portrait contemporain. Pour les portraits individuels et de groupe, cet artiste et conteur passionné utilise un appareil photo analogique grand format. Il en résulte des images pittoresques et romantiques, riches en détails, rappelant les célèbres maîtres hollandais.
La beauté intrinsèque de la diversité humaine et du patrimoine commun renforce le sentiment d'interdépendance mondiale, un thème récurrent dans l'œuvre de Nelson. Les visiteurs sont invités à un dialogue visuel et à une réflexion sur l'importance de la préservation et de l'unité culturelles. Avec son mélange unique d'architecture historique et moderne, le monumental Fotomuseum aan het Vrijthof offre un cadre idéal. Le musée organise un programme parallèle avec des conférences d'artistes et des activités scolaires.
Jimmy Nelson (Sevenoaks, Angleterre, 1967) a passé son enfance en Afrique, en Asie et au Moyen-Orient. Depuis 1993, il vit à Amsterdam, où se trouve le Jimmy Nelson Studio & Gallery. L'artiste photographie depuis quarante ans et expose dans les plus grands musées et galeries du monde entier. Son travail indépendant a également été présenté lors de foires d'art et de photographie telles que PAN Amsterdam, Photo London, Paris Photo et TEFAF Maastricht, ainsi qu'à la Fabrique des Lumières.
The Maastricht Museum of Photography, located in the Vrijthof, presents a striking exhibition by photographer Jimmy Nelson. Entitled "Between Sea and Sky," the exhibition features 65 photographs and two videos depicting twenty Dutch communities in traditional costumes. These images, featuring majestic skies, were taken in picturesque fishing villages, polder landscapes, and fortified towns. With his vibrant work, Nelson celebrates the beauty, cultural richness, and authenticity of humanity.
The Anglo-Dutch photographer is internationally recognized for his groundbreaking books "Before They Pass Away" (2013) and "Homage to Humanity" (2018), which present captivating photographs of unique indigenous peoples in the world's most remote regions. The elegant coffee table book "Between the Sea and the Sky" (2022) is a visual and artistic narrative exploring the rich cultural heritage of Nelson's adopted homeland and features over 350 intimate portraits and iconic landscapes.
With this inspiring series, Jimmy Nelson pays personal homage to time-honored traditions. He combines the timeless elegance of Dutch naturalism with contemporary portraiture. For both individual and group portraits, this passionate artist and storyteller uses a large-format analog camera. The result is picturesque and romantic images, rich in detail, reminiscent of the famous Dutch masters.
The intrinsic beauty of human diversity and shared heritage reinforces the sense of global interdependence, a recurring theme in Nelson's work. Visitors are invited to engage in a visual dialogue and reflect on the importance of cultural preservation and unity. With its unique blend of historic and modern architecture, the monumental Fotomuseum aan het Vrijthof provides an ideal setting. The museum organizes a parallel program with artist talks and school activities.
Jimmy Nelson (Sevenoaks, England, 1967) spent his childhood in Africa, Asia, and the Middle East. Since 1993, he has lived in Amsterdam, where the Jimmy Nelson Studio & Gallery is located. The artist has been photographing for forty years and exhibits in major museums and galleries worldwide. His independent work has also been presented at art and photography fairs such as PAN Amsterdam, Photo London, Paris Photo, and TEFAF Maastricht, as well as at the Fabrique des Lumières.
As this old abandoned car is being reclaimed by the desert, it seems to be carrying the earth and sky with it in some reflection of intrinsic unity of all things.
My post yesterday got me thinking about sculpture and I decided I would post another similar image this time from Iceland.
Sun Voyager (Icelandic: Sólfar) is sculpture by Jón Gunnar Árnason (1931 - 1989). Sun Voyager is a dreamboat, an ode to the sun. Intrinsically, it contains within itself the promise of undiscovered territory, a dream of hope, progress and freedom. The sculpture is located by Sæbraut, by the sea in the centre of Reykjavík, Iceland.
I have posted a couple of shots of this work in the past This is I believe my best take on it
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Mes célébrations de la Veille de Noël 2006 ont été faites en toute simplicité comme depuis bien des années. My 2006 Christmas Eve celebrations were done in the simplest of ways as for many years.
Réveillon past and present.
Descendants of French colonists like me have traditionally put more emphasis on celebrating on Christmas Eve than the day itself. We call it "le réveillon" (it comes from veiller, to stay up late). Traditions are slowly changing to adapt to modern times but here is how I experienced this day when I was very young in the 1950's.
Families gathered in late afternoon, all dressed up as fancy as possible, put the little ones to bed early to wake them up when it was time to go to midnight mass. The older children would stay up and experience for a longer time their wonderment of the Christmas tree. They would love being intrigued by the numerous gifts under the tree and tried to guess the secrets they enclosed. The first years of my life, a tree would be put up when I was asleep, then two days earlier, then a week earlier. After midnight mass which admittedly was filled with magic, no matter anyone's religious beliefs, we came home to a meal of French Canadian meat pie called "tourtière" and other dishes. For dessert, we had homemade Bûche de Noël (a yul log, a log-shaped coffee-flavoured cake) and my mother's family dessert, "café à la guimauve" which we called in those days "marshmallow au café", really a coffee mousse made with marshmallows. Then, we opened our presents, perhaps keeping some for the following evening of the 25th. Children played with their gifts until 3 or 4 in the morning. We slept late and visited my paternal grandparents in the late afternoon (I never met my mother's parents) and had turkey for dinner, more "Bûche Nöel" then opened more presents. After my parents separated when I was 10, we often spent Christmas Eve at my aunts' house in a much larger family gathering and where there was a much larger and taller tree under a tall ceiling, many more presents, even for the cats, and more food!
Much has changed in many families. Some traditions remain, some have been altered for practical reasons. I am certain that the main reason for having a "réveillon" was to go to mass as soon as it was midnight in order to begin celebrations when the birthday of Jesus began. Today, those who do go to mass, not that many in Québec since the recent decades (this includes me), have the choice of an early evening family mass and a 10 pm mass. This adaptation to new needs and mentalities completely changes people's options especially that so many no longer go to mass. Celebrations can begin and end at various hours. Still, Christmas Eve and past midnight is our preferred time to celebrate. There is so much more magic when revelling in the late hours (réveillonner), that is, eating, celebrating and exchanging presents, during the night than in the morning as others do. I would not ever want to go to bed early to wake up early on Christmas morning to open present in my nightgown. The essence of the magic of Christmas as I know it would be lost. This of course is my personal impression based on my own childhood experiences and family and cultural traditions. Each person is attached to their own traditions, many which they would not have the desire to alter in any way as they are intrinsically connected to one's childhood memories.
Last night, I had a very simple celebration. Wine, cream cheese and crackers while listening to Christmas music on television.
How do you spend Christmas Eve and Christmas Day? What are your family traditions? How did you celebrate your Christmas as a child? As an adult, how did you celebrate this year? Share your memories and a link to your own Christmas photos. Perhaps you would like to leave two memorable photos of your childhood or recent Christmas added to your comment. (I can guide those who do not know how to add a photo).
I am not going to write the French version of this text because it would take too long! I could but I will not.
LOS JAMEOS DEL AGUA
Los Jameos del Agua son una de las obras esenciales en la trayectoria de César Manrique. El proyecto lo encaminó de forma decisiva hacia el concepto de Arte-Naturaleza, abriendo un campo de acción determinante para el ideario estético del artista su aportación más sólida y original al arte contemporáneo,
El término de jameos hace alusión a los tubos volcánicos que carecen de coronación y éstos concretamente pertenecen a la gran oquedad subterránea —una de las más grandes del mundo— que corre desde el Volcán de la Corona. Manrique aporta soluciones insólitas, sutiles y elocuentes que realzan la belleza intrínseca del lugar sin enmascararla artificiosamente.
THE WATER JAME0S
Los Jameos del Agua are one of the essential works in César Manrique's career. The project led him decisively towards the concept of Art-Nature, opening a decisive field of action for the artist's aesthetic ideology, his most solid and original contribution to contemporary art,
The term jameos alludes to the volcanic tubes that lack crowning and these specifically belong to the great underground cavity - one of the largest in the world - that runs from the Corona Volcano. Manrique provides unusual, subtle and eloquent solutions that enhance the intrinsic beauty of the place without artificially masking it.
Mi agradecimiento a tod@s, por los más de 8 millones de visitas que recibo en redes.
Let me say a huge thank you, for over than 8 million visits that I receive in networks.
Groups managed by: agustin ruiz morilla
Architecture&Photography: by invitation
www.flickr.com/groups/14665391@N23/pool/with/49105545208/
Caminando: by invitation:
www.flickr.com/groups/4130021@N20/
Retrato Portrait: Miradas: by invitation
There is something to be said about the intrinsic link between failure and expectation. It seems to me that a key component of failure is expectation. Try to imagine failure without expectation? It's tricky. Because in order to fail, you have to have somehow defined what failure is. And we do this with expectation in hand all the time, be it consciously or otherwise. This image is an example of just that. I set it up, had a shot in mind, calculated my exposure, sat on the tracks counting that exposure off mentally, got up closed the shutter and wound the film. All with an expectation of something. Part of that something was a vague notion of how I wanted the image to look. Another part of that something was the expectation that I calculated the technical aspects of the image correctly - focus, exposure, etc. Yet another part of that something was the expectation that the film would be processed correctly. And so on. You get the idea of how something like this is built off a chain of expectations, even when we don't necessarily think of those expectations. Then, when something doesn't go as expected, for example I somehow blew the exposure and overexposed the frame by several stops thereby producing a more faded, washed out image with a bit of a color cast. Well, that goes against my expectation of how I thought this would turn out. My initial reaction was, "Well, blew that one" and mentally began the process of writing this image off. It was just one photo after all and I make a lot of photos. Also, I am no stranger to "blowing it". I often tell people I could bury them with the boxes of throwaway sample prints from "failed" images that I have accumulated over the years. But then again, as I implied above, what is failure really, other than unmet expectations? And if that is really a key to failure, can failure not be converted to something else merely by either tweaking those expectations or simply by not handcuffing yourself to them. It is fine to have expectations, it is also fine to set them aside. After a day, and a second visit to this negative, I gave my initial expectations of this photo a rest and what was left behind was something that was neither expected nor failed. I don't know what it is, nor do I really need to. It is another image in my collection that has something that intrigues me, that has given me something to consider and think about. I used to remark to students that if a every photo you make teaches you something, are there really bad photos?
Anyway, just some thoughts inspired by my misexposure in the making of this particular image. And no, I still don't quite know how I goofed this one up. But I am ok with that too. If I knew, I might want to do it again and that wouldn't be nearly as fun as when it happens incidentally.
Hasselblad Flexbody
Silberra Color 160
Cologne Cathedral (German: Kölner Dom, officially Hohe Domkirche St. Peter und Maria) is a Roman Catholic church in Cologne, Germany. It is the seat of the Archbishop of Cologne (currently Cardinal Joachim Meisner), and is under the administration of the archdiocese of Cologne. It is renowned as a monument of Christianity, of German Catholicism in particular, of Gothic architecture and of the continuing faith and perseverance of the people of the city in which it stands. It is dedicated to Saint Peter and the Blessed Virgin Mary. The cathedral is a World Heritage Site, one of the best-known architectural monuments in Germany, and Cologne's most famous landmark, described by UNESCO as an "exceptional work of human creative genius".[1]
Construction of Cologne Cathedral began in 1248 and took, with interruptions, until 1880 to complete– a period of over 600 years. It is 144.5 metres long, 86.5 m wide and its two towers are 157 m tall.[2] The cathedral is one of the world's largest churches and the largest Gothic church in Northern Europe. For four years, 1880-84, it was the tallest structure in the world, until the completion of the Washington Monument. It has the second-tallest church spires, only surpassed by the single spire of Ulm Minster, completed 10 years later in 1890. Because of its enormous twin spires, it also presents the largest façade of any church in the world. The choir of the cathedral, measured between the piers, also holds the distinction of having the largest height to width ratio of any Medieval church, 3.6:1, exceeding even Beauvais Cathedral which has a slightly higher vault.[3]
Cologne's medieval builders had planned a grand structure to house the reliquary of the Three Kings and fit its role as a place of worship of the Holy Roman Emperor. Despite having been left incomplete during the medieval period, Cologne Cathedral eventually became unified as "a masterpiece of exceptional intrinsic value" and "a powerful testimony to the strength and persistence of Christian belief in medieval and modern Europe".
@wikipedia
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Cabbages belong to the family of vegetables known as Brassicaceae or Cruciferae. These plants are known for their unique spiraling patterns and fractals that emerge as the cabbage grows. They feature an interesting set of spirals, each with a different shape and size, and they emerge in the most perfect order. Several types of spirals occur in these plants, including the simple spiral, double spiral, and parastichy spiral. These spiraling patterns give the cabbage its unique shape and structure, making it a gorgeous vegetable to observe.
One fascinating aspect of the spiral patterns observed inside a cabbage is the spiral arrangement of leaves around the stem. These leaves grow in either a clockwise or counterclockwise direction and in different proportions. They form spirals that are close approximations of the Fibonacci series. The Fibonacci sequence is a mathematical sequence of numbers that occur in nature, in which each number in the sequence is the sum of the previous two. The intrinsic Fibonacci pattern in cabbage is a result of packing efficiency, as the packing is optimal for the plant to capture a maximum amount of sunlight.
Another intriguing geometrical pattern observed in cabbage is the hexagonal lattice arrangement of its cells. This lattice interlocks the plant cells tightly, creating a sturdy and stable structure with minimal air space. This lattice structure is critical in ensuring that the plant’s structure is strong enough to hold the weight of the leaves, protect the valuable chlorophyll against stress and damage, and provide a pathway for transporting important nutrients.
The patterns observed in cabbage are visually attractive and impactful from an agricultural perspective. Understanding these patterns can help farmers understand how to grow healthy plants that can withstand environmental stress, pests, and disease. Farmers can pack their crops more efficiently and get more leaves per unit area by understanding how the spiral patterns occur and the corresponding mathematical sequences.
In conclusion, the patterns observed inside a cabbage highlight the beauty and wonder of mathematics in nature. These patterns are not mere coincidences but arise from an intricate combination of chemical, biological, and physical processes. A simple cabbage holds within it a wealth of hidden patterns that can inspire and inform scientists and mathematicians alike. Studying these patterns can provide valuable insights that can help farmers grow more efficient, healthy, and sustainable crops. In short, cabbages are more than just vegetable dishes, and they are masterpieces of nature and mathematics!
abakcus.com/directory/the-geometric-patterns-inside-a-cab...
Sun Voyager is a dreamboat, an ode to the sun. A sculpture by Jón Gunnar Árnason, located next to the Sæbraut road in Reykjavík, Iceland. Intrinsically, it contains within itself the promise of undiscovered territory, a dream of hope, progress and freedom.
The work is constructed of quality stainless steel and stands on a circle of granite slabs surrounded by so-called “town-hall concrete”. It was constructed in accordance with Jón Gunnar’s enlarged full-scale drawing of Sun Voyager and was overseen by Jón Gunnar’s assistant, the artist Kristinn E. Hrafnsson. The engineering of the sculpture was supervised by the technologist, Sigurjón Yngvason, in close cooperation with Jón Gunnar himself, the building itself was carried out by Reynir Hjálmtýsson and his assistant.
--- Wikipedia
My thanks to Flickr buddy aberdeenloon for the original image. His photos can be seen here: www.flickr.com/photos/10232647@N03/
© Bob Kramer, Intrinsic Captures, 2015. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION. All my pictures have copyright. Please, do not use them without my permission! Copyright: All images © 2015. All rights reserved. The photos are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law.
Artist Ana Tzarev presents a selection of her latest paintings and sculptures in a special exhibition at the Museo Diocesano di Venezia Sant’Apollonia during the 2015 Venice Biennale. The exhibition is comprised of 25 works created by Tzarev within the past two years, with each work in the collection serving as the artist’s personal interpretation of the exhibition name. Celebration of Life shows Tzarev at her most ebullient, featuring a collection of works unified not only by a palpable energy and exigency, but by the intrinsic sense of wonder that defines her oeuvre. The collection is a jubilant and wholly immersive exploration of nature’s unparalleled power to excite and inspire both artist and viewer. --- --- --- This is the album of photos for my visit. --- www.flickr.com/photos/136891509@N07/albums/72157661161099860
Step inside the Gielgud Theatre and you step into Edwardian opulence on a perfectly theatrical scale. Seating 986 patrons across three levels — stalls, dress circle, and upper circle — the auditorium is an exquisite showcase of W.G.R. Sprague’s architectural genius: rococo plasterwork, sweeping balconies, and a grand domed ceiling wreathed in garlands and gold.
Opened in 1906, the Gielgud (originally the Hicks Theatre) was built as one half of a theatrical twinset. Next door, the Queen’s Theatre (now the Sondheim) was also designed by Sprague and opened just eight months later. Though both buildings have lived through name changes, renovations, and generations of stars, they remain intrinsically linked — now quite literally via the recently created Sprague Terrace, an elegant internal event space that connects the two venues.
The Gielgud’s most recent restoration has sensitively preserved its period charm while updating facilities for modern audiences — including state-of-the-art lighting, sound, and accessibility. But it’s the original curves, the plush red velvet, and the hushed anticipation that keep drawing crowds back.
To sit here is not just to watch a play. It is to be part of the living story of the West End.
•••••••••••••••••••••••••••••••••••
Pénétrer dans le Gielgud Theatre, c’est entrer dans un écrin édouardien, somptueux et pensé pour le théâtre. Avec ses 986 places réparties sur trois niveaux — orchestre, corbeille et balcon supérieur — l’auditorium est une œuvre d’art signée W.G.R. Sprague : moulures rococo, balcons en courbes gracieuses et coupole centrale ornée de guirlandes dorées.
Inauguré en 1906 sous le nom de Hicks Theatre, le Gielgud a été conçu comme le jumeau théâtral du bâtiment voisin : le Queen’s Theatre (aujourd’hui le Sondheim), également signé Sprague et ouvert quelques mois plus tard. Récemment, les deux théâtres ont été réunis par une élégante liaison intérieure baptisée Sprague Terrace, permettant une circulation fluide entre les coulisses.
La restauration récente du Gielgud a su préserver tout le charme historique du lieu, tout en intégrant les technologies modernes d’éclairage, de son et d’accessibilité. Mais ce sont les lignes d’origine, le velours rouge profond et cette sensation d’attente fébrile qui font de chaque représentation une expérience unique.
Ici, on ne fait pas que voir un spectacle. On entre dans l’histoire vivante du West End.
The Grand Prismatic Spring in Yellowstone National Park is the largest hot spring in the United States, and the third largest in the world, after Frying Pan Lake in New Zealand and Boiling Lake in Dominica. It is located in the Midway Geyser Basin.
Grand Prismatic Spring was noted by geologists working in the Hayden Geological Survey of 1871, and named by them for its striking coloration. Its colors match most of those seen in the rainbow dispersion of white light by an optical prism: red, orange, yellow, green, and blue. The bright, vivid colors in the spring are the result of microbial mats around the edges of the mineral-rich water. The mats produce colors ranging from green to red; the amount of color in the microbial mats depends on the ratio of chlorophyll to carotenoids and on the temperature gradient in the runoff. In the summer, the mats tend to be orange and red, whereas in the winter the mats are usually dark green. The center of the pool is sterile due to extreme heat.
The deep blue color of the water in the center of the pool results from the intrinsic blue color of water. The effect is strongest in the center of the spring, because of its sterility and depth.
What do you think about it?
Do you have a spot on your wall, you’re trying to fill?
Travel does what good novelists also do to the life of everyday, placing it like a picture in a frame or a gem in its setting, so that the intrinsic qualities are made more clear. Travel does this with the very stuff that everyday life is made of, giving to it the sharp contour and meaning of art.” - Freya Stark
Napa Valley, California
For Mai - wishing you a Happy Birthday! Have a blast on your special day! :)
Looking at those beautiful trees reflecting in the lake, it came to my mind the classical concept of yin and yang.
Shadow cannot exist without light. Top cannot exist without the bottom. Life cannot exist without death.... It is called duality.
Whenever one quality reaches its peak, it will naturally begin to transform into the opposite quality: for example, grain that reaches its full height in summer (fully yang) will produce seeds and die back in winter (fully yin) in an endless cycle.
Thus, a seed will sprout from the earth and grow upwards towards the sky—an intrinsically yang movement. Then, when it reaches its full potential height, it will fall. Also, the growth of the top seeks light, while roots grow in darkness.
That observation was contained in this lake. And I am sure you can find many others.
Yes, we are surrounded by beauty and lessons but we have to look with open eyes.
Would you like to buy it?
society6.com/product/duality262177_framed-print
All the prints, Daniel Vicario's shop
I will be back on Flickr later today.
The last few weeks have been somewhat hectic but did conclude with a holiday in Malta where unfortunately I dropped my travel camera on the first morning. As such virtually all photos from this trip had to be taken with my iPhone. Note to self, keep a safe hold of your camera and expect limited quality results from an iPhone 13 or earlier.
The Maltese Cross is known everywhere as the symbol of the island and nation. it was introduced by the Knights of St. John of Jerusalem who at the invite of the Spanish took possession of the islands in 1530, the cross has become an intrinsic part of Malta’s culture and heritage, as well as a much-cherished symbol by the Maltese.
Photographed within the five hundred year old St Annes church inside Elma Fort, Valletta.
A UNESCO site.
From Wikipedia:
The Grand Prismatic Spring in Yellowstone National Park is the largest hot spring in the United States, and the third largest in the world, after Frying Pan Lake in New Zealand and Boiling Lake in Dominica. It is located in the Midway Geyser Basin.
Grand Prismatic Spring was noted by geologists working in the Hayden Geological Survey of 1871, and named by them for its striking coloration. Its colors match most of those seen in the rainbow dispersion of white light by an optical prism: red, orange, yellow, green, and blue
The bright, vivid colors in the spring are the result of microbial mats around the edges of the mineral-rich water. The mats produce colors ranging from green to red; the amount of color in the microbial mats depends on the ratio of chlorophyll to carotenoids and on the temperature gradient in the runoff. In the summer, the mats tend to be orange and red, whereas in the winter the mats are usually dark green. The center of the pool is sterile due to extreme heat.
The deep blue color of the water in the center of the pool results from the intrinsic blue color of water. The effect is strongest in the center of the spring, because of its sterility and depth.
The spring is approximately 370 feet (110 m) in diameter and is 160 feet (50 m) deep. The spring discharges an estimated 560 US gallons (2,100 L) of 160 °F (70 °C) water per minute.
Sun Voyager (Sólfar) is sculpture by Jón Gunnar Árnason (1931-1989). Sun Voyager is a dreamboat, an ode to the sun. Intrinsically, it contains within itself the promise of undiscovered territory, a dream of hope, progress and freedom. The sculpture is located by Sæbraut, by the sea in the centre of Reykjavík, Iceland.
Dilmun is associated with ancient sites on the islands of Bahrain in the Persian Gulf, the Cradle of Civilization.
Dilmun (sometimes transliterated Telmun) is associated with ancient sites on the islands of Bahrain in the Persian Gulf. Because of its location along the sea trade routes linking Mesopotamia with the Indus Valley Civilization, Dilmun developed in the Bronze Age, from ca. 3000 BC, into one of the greatest entrepots of trade of the ancient world.
There is both literary and archaeological evidence for the trade between Mesopotamia and the Indus Valley (probably correctly identified with the land called Meluhha in Akkadian). Impressions of clay seals from the Indus Valley city of Harappa were evidently used to seal bundles of merchandise, as clay seal impressions with cord or sack marks on the reverse side testify.
A number of these Indus Valley seals have turned up at Ur and other Mesopotamian sites. "Persian Gulf" types of circular stamped rather than rolled seals, known from Dilmun, that appear at Lothal in Gujarat, India, and Faylahkah, as well as in Mesopotamia, are convincing corroboration of the long-distance sea trade. What the commerce consisted of is less sure: timber and precious woods, ivory, lapis lazuli, gold, and luxury goods such as carnelian and glazed stone beads, pearls from the Persian Gulf, shell and bone inlays, were among the goods sent to Mesopotamia in exchange for silver, tin, woolen textiles, olive oil and grains. Copper ingots, certainly, bitumen, which occurred naturally in Mesopotamia, may have been exchanged for cotton textiles and domestic fowl, major products of the Indus region that are not native to Mesopotamia - all these have been instanced.
Mesopotamian trade documents, lists of goods, and official inscriptions mentioning Meluhha supplement Harappan seals and archaeological finds. Literary references to Meluhhan trade date from the Akkadian, the Third Dynasty of Ur, and Isin - Larsa Periods (ca. 2350 - 1800 BC), but the trade probably started in the Early Dynastic Period (ca. 2600 BC). Some Meluhhan vessels may have sailed directly to Mesopotamian ports, but by the Isin - Larsa Period, Dilmun monopolized the trade. By the subsequent Old Babylonian period, trade between the two cultures evidently had ceased entirely.
The Bahrain National Museum assesses that its "Golden Age" lasted ca. 2200 - 1600 BC. Its decline dates from the time the Indus Valley civilization suddenly and mysteriously collapsed, in the middle of the 2nd millennium BC. This would of course have stripped Dilmun of its importance as a trading center between Mesopotamia and India. The decay of the great sea trade with the east may have affected the power shift northwards observed in Mesopotamia itself.
Evidence about Neolithic human cultures in Dilmun comes from flint tools and weapons. From later periods, cuneiform tablets, cylinder seals, pottery and even correspondence between rulers throw light on Dilmun. Written records mentioning the archipelago exist in Sumerian, Akkadian, Persian, Greek, and Latin sources.
Dilmun, sometimes described as "the place where the sun rises" and "the Land of the Living" is the scene of a Sumerian creation myth and the place where the deified Sumerian hero of the flood, Ziusudra (Utnapishtim), was taken by the gods to live for ever.
There is mention of Dilmun as a vassal of Assyria in the 8th century BC and by about 600 BC, it had been fully incorporated into the Neo-Babylonian Empire. Dilmun then falls into deep eclipse marked by the decline of the copper trade, so long controlled by Dilmun, and the switch to a less important role in the new trade of frankincense and spices. The discovery of an impressive palace at the Ras al Qalah site in Bahrain is promising to increase knowledge of this late period.
Otherwise, there is virtually no information until the passage of Nearchus, the admiral in charge of Alexander the Great's fleet on the return from the Indus Valley. Nearchus kept to the Iranian coast of the Gulf, however, and cannot have stopped at Dilmun. Nearchus established a colony on the island of Falaika off the coast of Kuwait in the late 4th century BC, and explored the Gulf perhaps least as far south as Dilmun/Bahrain.
From the time of Nearchus until the coming of Islam in the 7th century AD Dilmun/Bahrain was known by its Greek name of Tylos. The political history for this period is little known, but Tylos was at one point part of the Seleucid Empire, and of Characene and perhaps part of the Parthian Empire. Shapur II annexed it, together with eastern Arabia, into the Persian Sassanian empire in the 4th century.
Unlike Egyptian and Mesopotamian tablets and cylinders, the Dilmun legacy has been discovered on circular seals. The primitive forms of images carved on the seal indicate they were used as charms or talisman. Carved on wood, soapstone shells or metal, these images clearly define a complex society. Temples in the center of the agrarian village, towns, city-states, religious, and economic cultural life. All facets of the emergence of an evolutionary society are reflected in the inscriptions about the seals.
Impressions found on pottery and property is a probable usage of the seals. Burying them with the dead was probably to avoid misuse. Tiny fragments found impressed, suggest identifying property. Clearly there was an intrinsic value; each seal tells a story, has an identity.
Seals depict Enki, God of wisdom and sweet water. Gilgamesh as a massive and heroic figure, the 'Bull of heaven' hat. Ladies of the mountains 'Inanas' servants wearing her triangle signs depicting space for her power. 'Nana' is the moon god who was also named 'sin'. Symbol was the bull of heaven head. Inana, goddess of immortality.
From the dreams of Gilgamesh, to the philosophy of life. Seals depicting a harmonious life with nature and god are painted here in the colors and form I hope you enjoy. The colors naturally excite and stimulate, often sexually. Indisputably the ancient myths of immortality and resurrection influenced Dilmun beliefs and are abundantly supported in the seal designs, represented by gods of the sun and moon.
The Mesopotamian texts described Tilmun as situated at the 'mouth' of two bodies of water. The Sinai peninsula, shaped as an inverted triangle indeed begins where the Red Sea separates into two arms - the gulf of Suez on the west, and the Gulf of Elat (Gulf of Aqaba) on the east.
The texts spoke of mountainous Tilmun. The Sinai peninsula is indeed made up of a high mountainous southern part, a mountainous central plateau, and a northern plain (surrounded by mountains), which levels off via sandy hills to the Mediterranean coastline. Sargon of Akkad claimed that he reached as 'washed his weapons' in the Mediterranean; 'the sea lands' - the lands along the Mediterranean coast - 'three times I encircled; Tilmun my hand captured'. Sargon II, king of Assyria in the eighth century BC, asserted that he had conquered the area stretching 'from Bit-Yahkin on the shore of the salt Sea as far as the border of Tilmun'. The name 'Salt Sea' has survived to this day as a Hebrew name for the Dead Sea - another confirmation that Tilmun lay in proximity to the Dead Sea.
The cradle of civilization is sometimes referenced by the name Dilmun, or Tilmun. Here, it was said, the god Ea and his wife were placed to institute 'a sinless age of complete happiness'.
Here too animals lived in peace and harmony, man had no rival and the god Enlil `in one tongue gave praise'. It is also described as a pure, clean and `bright' `abode of the immortals' where death, disease and sorrow are unknown and some mortals have been given `life like a god', words reminiscent of the Airyana Vaejah, the realm of the immortals in Iranian myth and legend, and the Eden of Hebraic tradition
Although Dilmun is equated by most scholars with the island of Bahrain in the Persian Gulf, there is evidence to suggest that a much earlier mythical Dilmun was located in a mountainous region beyond the plains of Sumer.
But where exactly was it located Mesopotamian inscriptions do not say; however, the Zoroastrian Bundahishn text and the Christian records of Arbela in Iraqi Kurdistan both refer to a location named Dilamƒn as having existed around the head waters of the Tigris, south-west of Lake Van - the very area in which the biblical Eden is said to have been located.
Furthermore, Ea (the Akkadian Enki) was said to have presided over the concourse of Mesopotamia's two greatest rivers - the Tigris and Euphrates - which are shown in depictions as flowing from each of his shoulders.
This would have undoubtedly have meant that the head-waters, or sources, of these rivers would have been looked upon as sacred to Ea by the cultures of Mesopotamia's Fertile Crescent.
- Zecharia Sitchin The Stairway to Heaven
Dilmun was allegedly a magical land, the birthplace of the gods and the place where the arts of civilization where said first to have been transmitted to men. It was the subject of many legends told by the Sumerians, the people of southern Iraq; it was famed as a land where death and disease were unknown and men and animals lived at peace together.
It was the home of the Sumerian king who was the origin of the myth of Noah, the immortal survivor of the Great Flood, a story retold in the Qu'ran and the Bible.
The first great hero of world literature, Gilgamesh the king of Uruk, journeyed to Dilmun in search of the secret of eternal youth.
He found it deep in the waters of the Persian Gulf, off Bahrain, but lost it when the flower which restored the youth of those who sought it, was stolen by a snake, lurking in a pool as Gilgamesh returned to his kingdom; this is the reason why the snake sloughs his skin.
Symbolism - All is Myth and Metaphor in our reality
* water: flow of consciousness - creation
* restore to youth: move out of the physical body and return to higher frequency forms of sound, light, and color
* snake: DNA - the human bio-genetic experiment in time and emotion
* kingdom - Leo - Lion - King - Omega - closure
Dilmun was also the center of the most important trade routes of the third and second millennia BC. The most important commodity was copper for which Dilmun was famous and the dates for which Bahrain was always celebrated, from ancient times until the present day.
Because Dilmun was so sacred a land, there were many temples built there, the impressive remains of which can be seen today. The largest and most splendid temple surviving in Western Asia is at Barbar on Bahrain's northern shore.
The most famous of all Bahrain's rich archaeological heritage are the 200,000 grave mounds which are a feature of the landscape in the northern half of the island and which, by their size and quality of construction, show how prosperous Bahrain must have been in ancient times.
Dilmun continued to be the most important center of trade in the Gulf region throughout its history.
After the Sumerians, the Babylonians, Assyrians, even the Greeks, settled on the islands, because of their strategic importance in the movement of merchandise, north and south, east and west, by sea and by the land routes to which the seas gave access.
The records of their diplomatic relations with the kings of Dilmun, some of whose names are known from the records, testify to the importance of the islands throughout antiquity.
All left evidence of their presence, preserved today in the Bahrain National Museum and in the immense archaeological sites in which Bahrain is particularly rich.
Bahrain is an open-air treasure house of the past, a unique heritage from the earliest times when men first began to keep records of their hopes, fears and achievements.
It is the contemporary of ancient Egypt with Sumer and the peoples who succeeded them, of the great cities of the Indus Valley.
Source: www.crystalinks.com/dilmun.html
We have entered the rainy season here on the West Coast of Canada, often referred in jest as “The Wet Coast”. It’s sad to see the warmth of summer give way to the constant drizzle that will be our mainstay until next spring. I can’t complain though because rain is the lifeblood of the lush rainforests that give this region such beauty. These ecosystems, characterized by towering trees and an incredible array of biodiversity, rely on the steady precipitation that graces the region. Rain not only nourishes the colossal cedars and vibrant ferns that adorn the forest floor but also sustains a myriad of wildlife, from the elusive coastal wolf to the majestic bald eagle. Moreover, the rainforest's ability to store carbon and mitigate climate change is intrinsically linked to the regular rainfall that supports the growth and vitality of this natural treasure. In the heart of British Columbia, the rain brings life, vibrancy, and ecological balance to this enchanting corner of the worlds that I call home.
Maple Ridge British Columbia Canada
Fujifilm XT3
Website: www.sollows.ca
Contact and my links
Jockey Club Innovation Tower is a building of the Hong Kong Polytechnic University. It was designed by Pritzker-prize-winning architect Zaha Hadid. (en.wikipedia.org/wiki/Innovation_Tower)
The Jockey Club Innovation Tower is home to Hong Kong Polytechnic University 's School of Design and is the new driving force in the development of Hong Kong as a design hub in Asia… It has 15,000 square metres of net floor area and can accommodate about 1,800 staff and students… “The fluid character of the Innovation Tower is generated through an intrinsic composition of its landscape, floor plates and louvers that dissolves the classic typology of the tower and the podium into an iconic seamless piece. These fluid internal and external courtyards create new public spaces of an intimate scale which complement the large open exhibition forums and outdoor recreational facilities to promote a diversity of civic spaces.” - Zaha Hadid, Architect, Innovation Tower (www.sd.polyu.edu.hk/en/j.c.-innovation-tower/the-architec...)
this picture is this song: www.cymagen.org/tears_from_the_compound_eye.mp3 ... they are so intrinsically bound to me, its insane.
Another colorized and painted image from a black and white photo.
© Bob Kramer, Intrinsic Captures, 2017. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION. All my pictures have copyright. Please, do not use them without my permission! Copyright: All images © 2017. All rights reserved. The photos are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law.
Happy Birthday America! Colorized black and white photo.
© Bob Kramer, Intrinsic Captures, 2014. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION. All my pictures have copyright.Please, do not use them without my permission!Copyright: All images © 2014. All rights reserved. The photos are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law.
All rights reserved ©
For Macro Mondays: Junk theme
I have many things most people would classify as "junk" but to me they are "treasures" and I keep them for their intrinsic beauty and photographic potential.
For this week's Macro Mondays theme I chose to photograph a small bar of Pears Soap that was provided in my room at a hotel. I have had it for many years--so long that it has crystallized. Surprisingly, it still has that distinctive Pears Soap fragrance.
See comment section below for the scale of soap. It is just under 3" in the largest dimension.
Le Musée de la Photographie de Maastricht, situé au Vrijthof, présente une exposition saisissante de l'artiste photographe Jimmy Nelson. Intitulée « Entre la mer et le ciel », l'exposition présente 65 photographies et deux vidéos représentant vingt communautés néerlandaises en costumes traditionnels. Ces images, aux ciels majestueux, ont été prises dans de pittoresques villages de pêcheurs, des paysages de polders et des villes fortifiées. Avec son œuvre vibrante, Nelson célèbre la beauté, la richesse culturelle et l'authenticité de l'humanité.
Le photographe anglo-néerlandais est internationalement reconnu pour ses livres révolutionnaires « Before They Pass Away » (2013) et « Homage to Humanity » (2018), qui présentent des photographies captivantes de peuples autochtones uniques dans les régions les plus reculées du monde. L'élégant beau livre « Between the Sea and the Sky » (2022) est un récit visuel et artistique explorant le riche patrimoine culturel de la patrie d'adoption de Nelson et présente plus de 350 portraits intimistes et paysages emblématiques.
Avec cette série inspirante, Jimmy Nelson rend un hommage personnel aux traditions ancestrales. Il allie l'élégance intemporelle du naturalisme hollandais à l'art du portrait contemporain. Pour les portraits individuels et de groupe, cet artiste et conteur passionné utilise un appareil photo analogique grand format. Il en résulte des images pittoresques et romantiques, riches en détails, rappelant les célèbres maîtres hollandais.
La beauté intrinsèque de la diversité humaine et du patrimoine commun renforce le sentiment d'interdépendance mondiale, un thème récurrent dans l'œuvre de Nelson. Les visiteurs sont invités à un dialogue visuel et à une réflexion sur l'importance de la préservation et de l'unité culturelles. Avec son mélange unique d'architecture historique et moderne, le monumental Fotomuseum aan het Vrijthof offre un cadre idéal. Le musée organise un programme parallèle avec des conférences d'artistes et des activités scolaires.
Jimmy Nelson (Sevenoaks, Angleterre, 1967) a passé son enfance en Afrique, en Asie et au Moyen-Orient. Depuis 1993, il vit à Amsterdam, où se trouve le Jimmy Nelson Studio & Gallery. L'artiste photographie depuis quarante ans et expose dans les plus grands musées et galeries du monde entier. Son travail indépendant a également été présenté lors de foires d'art et de photographie telles que PAN Amsterdam, Photo London, Paris Photo et TEFAF Maastricht, ainsi qu'à la Fabrique des Lumières.
The Maastricht Museum of Photography, located in the Vrijthof, presents a striking exhibition by photographer Jimmy Nelson. Entitled "Between Sea and Sky," the exhibition features 65 photographs and two videos depicting twenty Dutch communities in traditional costumes. These images, featuring majestic skies, were taken in picturesque fishing villages, polder landscapes, and fortified towns. With his vibrant work, Nelson celebrates the beauty, cultural richness, and authenticity of humanity.
The Anglo-Dutch photographer is internationally recognized for his groundbreaking books "Before They Pass Away" (2013) and "Homage to Humanity" (2018), which present captivating photographs of unique indigenous peoples in the world's most remote regions. The elegant coffee table book "Between the Sea and the Sky" (2022) is a visual and artistic narrative exploring the rich cultural heritage of Nelson's adopted homeland and features over 350 intimate portraits and iconic landscapes.
With this inspiring series, Jimmy Nelson pays personal homage to time-honored traditions. He combines the timeless elegance of Dutch naturalism with contemporary portraiture. For both individual and group portraits, this passionate artist and storyteller uses a large-format analog camera. The result is picturesque and romantic images, rich in detail, reminiscent of the famous Dutch masters.
The intrinsic beauty of human diversity and shared heritage reinforces the sense of global interdependence, a recurring theme in Nelson's work. Visitors are invited to engage in a visual dialogue and reflect on the importance of cultural preservation and unity. With its unique blend of historic and modern architecture, the monumental Fotomuseum aan het Vrijthof provides an ideal setting. The museum organizes a parallel program with artist talks and school activities.
Jimmy Nelson (Sevenoaks, England, 1967) spent his childhood in Africa, Asia, and the Middle East. Since 1993, he has lived in Amsterdam, where the Jimmy Nelson Studio & Gallery is located. The artist has been photographing for forty years and exhibits in major museums and galleries worldwide. His independent work has also been presented at art and photography fairs such as PAN Amsterdam, Photo London, Paris Photo, and TEFAF Maastricht, as well as at the Fabrique des Lumières.
Excerpt from aht.ca/who-we-are/our-history/:
Anishnawbe Health Toronto (AHT) is a vision of the late Elder, Joe Sylvester.
Initial efforts began with a diabetes research project, which realized that a more comprehensive approach to health care was needed by the Aboriginal community.
In response, Anishnawbe Health Resources was incorporated in 1984. One of its objectives stated, “To recover, record and promote Traditional Aboriginal practices where possible and appropriate.”
In 1989, having successfully secured resources from the Ministry of Health, Anishnawbe Health Toronto became recognized and funded as a community health centre.
Since then, AHT has and continues to grow to meet the needs of the community it serves. As a fully accredited community health centre, AHT offers access to health care practitioners from many disciplines including Traditional Healers, Elders and Medicine People. Ancient ceremonies and traditions, intrinsic to our health care model are available. Our work with the homeless has evolved from early directions of crisis intervention to our current efforts of working with those who seek to escape homelessness. Training programs offer community members the opportunity to learn and grow in a culture-based setting.
Today, AHT not only promotes Traditional Aboriginal practices but has affirmed and placed them at its core. Its model of health care is based on Traditional practices and approaches and is reflected in the design of its programs and services.
I'm kind of aware of the fact that I don't post as frequently on Flickr as I used to. One of the reasons is that I had several albums, with dozens and dozens of photos, and I made the posting of those albums into projects that consumed a fair amount of time. I have several other albums, but there's only one that is both full of photos and full of photos of a high-quality and/or contains lots of photos with highly-interesting content. When the time comes to post that one album, I hope I remember to do it.
Meanwhile, here's a little morsel, an album I've had for a while. I don't, in fact, remember where I bought it, but it was pre-Iowa, which means either South Carolina, Florida, or the Missouri triangle as the source of purchase. For some reason, I have the state of Maryland attached to my memory of where these photos might have been taken, and where the school might be. Don't know why I have that memory, as there is no intrinsic evidence to support that association.
Most of these kids are smiling. This photographer had The Knack, and, to be honest, I worry about the kids who aren't smiling. My most haunting memory of going into the Arkansas Public Schools, K through 12 (I participated in a program called "Poets in the Schools," (though, of course, I was never a poet), until I got fired for being a bad boy (and my indiscretion does not even make for a very good story), oh yeah, my most haunting memory, is how in kindergarten, just about all the kids, rich and poor, black and white, were boiling over with irrepressible enthusiasm, and by the time they were sophomores and juniors and seniors, they had been sorted out, and the kids who as kindergartners were no less able, no less inventive, no less alive, were now, after the democratizing socialization process, shunted aside, deemed lesser, slotted to change tires down at the Firestone store, or put on an apron and primp the lettuce at the local grocery. And that was before Wal-Mart had done the worst of its work. Even the teachers, at least some, if not most of them, participated in the process. They would point out the troublemakers for you, and speak sneeringly of them. The experience was uplifting, and terribly disheartening, which is how I feel about my wonderful, dastardly country.
Merry Christmas and Happy New Year to all ......
© Bob Kramer, Intrinsic Captures, 2017. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION. All my pictures have copyright. Please, do not use them without my permission! Copyright: All images © 2017. All rights reserved. The photos are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law.
Excerpt from torontounion.ca/event/union-art-black-dreams-aspirations/:
Black Dreams and Aspirations started with an open call for artists to address the question: What does it mean to dream while Black? Union’s programming team, TD’s Art Curator, MakeRoom Inc. and guest judges James Yeboah and Shuraine Otto-Olak, selected twelve artists for a two-part exhibition series that explores themes of community, self-possession, connection to the past, creativity, and the power of imagination.
Located in the West Wing, this second instalment of the two-part series features the works of six artists: Delali Cofie, Iman Abbaro, Adetona Omokanye, Ridge Levene, Troydel Wallace, and Theodore Walker Robinson. These voices interconnect to share past hopes and hope for a new future. The collective dreams are visually presented as a sequence of figures, giving the feeling of a single body in motion. Bold colours intermingle as regal stances and dreamlike states collide to look forward and back simultaneously.
In addition to the group series, special guest artist Yasin Osman is presenting a solo exhibition titled Dreaming in Colour, a poignant exploration of youth and aspiration, featuring a collection of large black and white portraits of young Black Somali children aged 11 to 16. Accompanying these striking visuals are narratives detailing their dreams and aspirations. This collection aims to honour these young people’s resilience, hope, and untapped potential. This exhibition will be presented in the Oak Room at Union and will run the length of the exhibition.
Excerpt from torontounion.ca/blackdreams/west-wing-collection/:
Inspired by a personal quest to illuminate the intrinsic value of blackness in Western culture, my gold-style artwork is a poignant metaphor for worth, aspirations, and growth. Visual elements depict a black woman playing a plant-made violin, symbolizing music passing through generations—a representation of a collective imagination. Much like a passionate rhythm resonating in our hearts, transcending time, and echoing through generations, this piece mirrors the collective aspirations of the African Diaspora to elevate every unique quality that defines us culturally, physically, and spiritually. It echoes a timeless melody that celebrates who we are as a people.
Map of the 5 properties that make up the Boston Post Road Historic District including the Jay Heritage Center/Jay Estate, 210 Boston Post Road, Rye, NY.
Westchester is fortunate to be the home of the National Historic Landmark Boston Post Road Historic District which was added to the National Register of Historic Places in 1982 (NR#82001275) through efforts of members of the Jay Coalition (precursor to the Jay Heritage Center). The nomination which identified this special group of gems was assembled and written by JHC founder, Karen Kennedy, Austin O'Brien and Wes Haynes.
The entire 286 acre district includes 5 properties: The Jay Property also known as the Jay Estate (23 acres with 3 owners - the Jay Heritage Center, New York State and Westchester County Parks - managed by Jay Heritage Center as of July 9, 2013), Whitby Castle & Rye Golf Club (110+ acres owned and managed by the City of Rye), the Jay Cemetery (3 acres privately owned and closed to the public), Lounsbury (13 acres, privately owned), and Marshlands Conservancy (137+ acres owned by Westchester County Parks). These 5 properties--and this unique district-- received National Historic Landmark status in 1993 because of the site's association with Founding Father, John Jay , who grew up and is buried within the district, and because of the architectural stature of the 3 pre-civil war estates --including their associated buildings and landscapes. There are fewer than 2500 NHLs in the nation and 262 of them (slightly over 10%) are in New York State.
This entire 286 acre American treasure has been further recognized as an archaeologically sensitive zone by New York State's Historic Preservation Office and by the National Register of Historic Places because of its cultural affiliations which include Middle Woodland, Late Woodland, Late Archaic and periods of historic significance of 3000-4999 BC, 1000-2999 BC, 1499-1000 AD, 1749-1500 AD, 1825-1849, and 1850-1874.
The centerpiece of the Jay Property is the Greek Revival 1838 Peter Augustus Jay Mansion which may have been designed by John Jay's son inspired by the pattern books of Minard Lafever.
In 1987, Justice Blackmun came to Rye to pay tribute to John Jay at his home and final resting place; he delivered the following speech:
digitalcommons.pace.edu/cgi/viewcontent.cgi?article=1246&...
tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1844&Resourc...
[O]ne of America's intrinsic sacred sites --'specially special,' if you like -- because a great family's great house and its great and sweeping surrounding landscape have, almost miraculously, both survived intact and are now a permanent part of the America the next centuries of Americans will build." Tony Hiss, Author, Experience of Place.
Jay Heritage Center
210 Boston Post Road
Rye, NY 10580
(914) 698-9275
Email: jayheritagecenter@gmail.com
Follow and like us on:
Twitter @jayheritage
Facebook www.facebook.com/jayheritagecenter
Pinterest www.pinterest.com/jaycenter
YouTube www.youtube.com/channel/UChWImnsJrBAi2Xzjn8vR54w
www.instagram.com/jayheritagecenter/
A National Historic Landmark since 1993
Member of the African American Heritage Trail of Westchester County since 2004
Member of the Hudson River Valley National Heritage Area since 2009
On NY State's Path Through History (2013)
Bibliomania is an obsessive–compulsive disorder involving the collecting or hoarding of books to the point where social relations or health are damaged. One of several psychological disorders associated with books, bibliomania is characterized by the collecting of books which have no use to the collector nor any great intrinsic value to a genuine book collector. The purchase of multiple copies of the same book and edition and the accumulation of books beyond possible capacity of use or enjoyment are frequent symptoms of bibliomania.
you can read all the book titles HERE
leave notes on your favorties :)
this is hopefully a little bit of a lighter subject than yesterdays. i dont have a lot of time, but this ones pretty self explanatory...
i guess if you happen to know someone with bibliomania, get help...?
it cant be good.
day 122
Excerpt from aht.ca/who-we-are/our-history/:
Anishnawbe Health Toronto (AHT) is a vision of the late Elder, Joe Sylvester.
Initial efforts began with a diabetes research project, which realized that a more comprehensive approach to health care was needed by the Aboriginal community.
In response, Anishnawbe Health Resources was incorporated in 1984. One of its objectives stated, “To recover, record and promote Traditional Aboriginal practices where possible and appropriate.”
In 1989, having successfully secured resources from the Ministry of Health, Anishnawbe Health Toronto became recognized and funded as a community health centre.
Since then, AHT has and continues to grow to meet the needs of the community it serves. As a fully accredited community health centre, AHT offers access to health care practitioners from many disciplines including Traditional Healers, Elders and Medicine People. Ancient ceremonies and traditions, intrinsic to our health care model are available. Our work with the homeless has evolved from early directions of crisis intervention to our current efforts of working with those who seek to escape homelessness. Training programs offer community members the opportunity to learn and grow in a culture-based setting.
Today, AHT not only promotes Traditional Aboriginal practices but has affirmed and placed them at its core. Its model of health care is based on Traditional practices and approaches and is reflected in the design of its programs and services.
"The Scream of the Perpetual Walker" portrays a lone man endlessly wandering the streets of Milton Keynes, his ceaseless journey symbolising existential angst and isolation.
The man's purposeless wandering is like a silent scream, a physical manifestation of inner turmoil. His directionless journey reflects the human condition - the search for meaning in an indifferent universe. The photograph's stark contrast and blurred background emphasise his isolation and detachment from the surrounding world.
The urban setting, with its commercial elements and indifferent crowds, further highlights the man's alienation from societal norms and values. The KFC advertisement in the background serves as a commentary on consumerism and the superficiality of modern life, contrasting sharply with the man's existential quest.
The blurred figures in the background suggest a world moving on, indifferent to the man's presence and plight. The repetitive architecture and monotonous landscape symbolise the routine and mechanical aspects of urban life, which the man seems disconnected from, emphasising his lack of purpose and direction.
The photograph draws parallels to Munch's "The Scream," evoking themes of existentialism, expressionism, and humanism. It captures a fleeting moment in the walker's endless journey, emphasising the impermanence of time and the ongoing passage of life. Despite his purposeless wandering, the photograph gives significance to his journey, acknowledging his humanity and the intrinsic value of his individual experience.
In essence, "The Scream of the Perpetual Walker" is a poignant representation of the universal human condition - the search for purpose in an indifferent world. The photograph's stark simplicity and powerful imagery, invite viewers to contemplate the complexities of existence and the isolation of the individual in a modern society.
Dedicated to all of those who severed to keep America free ......happy 4th. of July America. Created from an old black and white photo. Best viewed at the largest size.
© Bob Kramer, Intrinsic Captures, 2013. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.
A time for friends and family to gather. Best viewed at the largest size.
© Bob Kramer, Intrinsic Captures, 2012. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.
This Place Matters.
It was added to the National Register of Historic Places in 1982 NR#82001275 and further established as a National Historic Landmark in 1993. The City of Rye made it a Protected site in its Landmarks Ordinance and never envisioned that this Rye treasure would be hidden from public view. It received an award under the Save America's Treasures Program and was added to Westchester County's African American Heritage Trail in 2004. As a member site of the Hudson River Valley National Heritage Area, it is now being considered by the US Congress for inclusion in the National Parks System.
Yet it is currently endangered by invasives, vandalism and deliberate neglect.
Don't let Westchester County Parks erase history.
Thousands of people united to save the 23 acre Jay Property.
It is all that remains of John Jay's ancestral home-the place where he grew up, the place that shaped his character and a lifetime of service to his country.
John Jay was the only one of the 7 Founding Fathers native to New York, the only Founding Father to serve in every branch of US government including Governor of New York.
Help preserve his legacy and save this American treasure before it vanishes.
tclf.org/landslides/the-jay-property-threatened-by-erasure
[O]ne of America's intrinsic sacred sites --'specially special,' if you like -- because a great family's great house and its great and sweeping surrounding landscape have, almost miraculously, both survived intact and are now a permanent part of the America the next centuries of Americans will build." Tony Hiss, Author, Experience of Place.
Jay Heritage Center
210 Boston Post Road
Rye, NY 10580
(914) 698-9275
Email: jayheritagecenter@gmail.com
Follow and like us on:
Twitter @jayheritage
Facebook www.facebook.com/jayheritagecenter
Pinterest www.pinterest.com/jaycenter
YouTube www.youtube.com/channel/UChWImnsJrBAi2Xzjn8vR54w
www.instagram.com/jayheritagecenter/
A National Historic Landmark since 1993
Member of the African American Heritage Trail of Westchester County since 2004
Member of the Hudson River Valley National Heritage Area since 2009
On NY State's Path Through History (2013)
In Egyptian mythology, Sekhmet (also spelled Sakhmet, Sekhet, or Sakhet, among other spellings, means "the powerful one") is a warrior goddess as well as goddess of healing. She is depicted as a lioness, the fiercest hunter known to the Egyptians. It was said that her breath formed the desert. She was seen as the protector of the pharaohs and led them in warfare.
Her cult was so dominant in the culture that when the first pharaoh of the twelfth dynasty, Amenemhat I, moved the capital of Egypt to Itjtawy, the centre for her cult was moved as well. Religion, the royal lineage, and the authority to govern were intrinsically interwoven in ancient Egypt during its approximately three millennia of existence.
Fordingbridge designed and built this 120sqm sustainable flexible nursery building for Surestart.
Fordingbridge specialise in creating practical, energy and cost effective buildings which are intrinsically sustainable and are available at an affordable price.
Our buildings can be adapted to suit a wide variety of uses, from single school classroom buildings for nursery, primary and secondary education to large retail buildings and visitor centres.
We use a tried and tested building construction system using pre made elements which are then assembled on site. This minimises construction time and limits disruption to you and your project.
The building has an Integral canopy which provides an all-weather shaded play area and creates protection from solar gain.
The frame is a curved sustainably sourced FSC accredited Glulam timber-frame and Thermowood timber cladding provides an attractive finish.
The building is constructed with low maintenance highly insulated composite walls and roof to reduce heat loss from the building.
For more information about the building and our other projects please visit www.fordingbridge.co.uk/portfolio/?Surestart-childrens-ce...
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Thrissur Pooram, the pooram of all Poorams, falls in April every year. It is intrinsically a people’s festival in all respects.
Excerpt from aht.ca/who-we-are/our-history/:
Anishnawbe Health Toronto (AHT) is a vision of the late Elder, Joe Sylvester.
Initial efforts began with a diabetes research project, which realized that a more comprehensive approach to health care was needed by the Aboriginal community.
In response, Anishnawbe Health Resources was incorporated in 1984. One of its objectives stated, “To recover, record and promote Traditional Aboriginal practices where possible and appropriate.”
In 1989, having successfully secured resources from the Ministry of Health, Anishnawbe Health Toronto became recognized and funded as a community health centre.
Since then, AHT has and continues to grow to meet the needs of the community it serves. As a fully accredited community health centre, AHT offers access to health care practitioners from many disciplines including Traditional Healers, Elders and Medicine People. Ancient ceremonies and traditions, intrinsic to our health care model are available. Our work with the homeless has evolved from early directions of crisis intervention to our current efforts of working with those who seek to escape homelessness. Training programs offer community members the opportunity to learn and grow in a culture-based setting.
Today, AHT not only promotes Traditional Aboriginal practices but has affirmed and placed them at its core. Its model of health care is based on Traditional practices and approaches and is reflected in the design of its programs and services.