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The Anomaly hides in the vastness of deep space
The vastness of deep space hides the Anomaly. It is akin to "finding a needle in an impossibly vast, cosmic haystack" due to its elusive nature and location. The Anomaly, an enigma of immense proportions, is concealed within the unfathomable depths of deep space. Its elusive nature and precise location render it comparable to "finding a needle in an impossibly vast, cosmic haystack." This metaphorical comparison highlights the extreme difficulty, if not the near impossibility, of pinpointing its whereabouts amidst the vast expanse of the cosmos. Pirates, military personnel, and explorers have long grappled with the challenge of deciphering and penetrating this profound mystery, which continues to defy conventional understanding and observation. The very existence of the Anomaly challenges current astrophysical models, suggesting the presence of phenomena or structures that lie far beyond our current comprehension. Its hidden state implies either an intrinsic property of its being, a defence mechanism, or perhaps a natural consequence of its unique composition and interactions with the fabric of spacetime. The desire to enter the Anomaly remains a driving force for interstellar exploration, which promises revelations that could fundamentally alter humanity's perception of the universe.
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Alle prossime Elezioni Europee voterò Alleanza Verdi Sinistra.
"Il nostro approccio è profondamente radicato in una visione antispecista, che riconosce la dignità e il valore intrinseco di ogni forma di vita."
"Eliminare gradualmente i sussidi all’agricoltura industriale e alle monocolture, nonché agli allevamenti intensivi, partendo dalla riduzione del numero di animali allevati e dall’introduzione di una farming tax."
Bisogna fermare la distruzione del pianeta, il suo sovrasfruttamento a beneficio di pochi.
verdisinistra.it/programma-elezioni-europee-8-e-9-giugno-...
In the next European Elections I will vote for the Green Left Alliance.
"Our approach is deeply rooted in an anti-speciesist vision, which recognizes the dignity and intrinsic value of all forms of life."
"Gradually eliminate subsidies for industrial agriculture and monocultures, as well as intensive farming, starting from the reduction of the number of animals raised and the introduction of a farming tax."
We must stop the destruction of the planet, its overexploitation for the benefit of the few.
Tale: Unveiling the True Meaning of Beauty and The Importance of Looking Beyond Our Emotions
☑️ Embracing Provable and Testable Beauty
☑️ Relying on Evidence and Facts
Various types, distinct scores, differing levels and values exist for those who perceive the significant contrasts between images and facts.
They understand the big difference between people with genuinely beautiful hearts and those who merely project an attractive image, genuinely good people and those who merely want to appear good, as well as between true goodness and the strong desire to be perceived as good.
That's why thousands beautiful attitudes and words, thousands lines of impressive and touching words are just thousandsss of lies that cannot be truly valued and admired even a half-word.
And this is why appealing manners and eloquent words, innumerable lines of deeply moving expressions, 24/7 of flattery and hundreds messages of good attitudes per day for years are nothing more than countless deceptions that hold no value in terms of goodness and no value to upgrade the D/s situtation to be meaningful relationship.
A real value should be based on the honorable deeds accomplished, not on the extravagant tales recounted. It should focus on the positive 'actions' performed for 'others' rather than the positive 'intension and vision' for self-serving habits that designed to secure personal advantages.
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True Goodness should center on how we contribute to others' well-being rather than deeds done solely for personal gain. Thus, don't be astonished that even after years of shared D/s experiences, nothing holds more value or genuine significance beyond the thrilling passionate connections.
This explains why some dominant-submissive connections should remain as situational associations without progressing to more committed meaningful relationships since true relationships require a foundation of intrinsic worth and untainted goodness for optimum efficacy.
The true measure of goodness should be based on the positive impact one has on others, rather than on self-serving actions geared towards personal gain.
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Tale: Seeds
Inspired by D/s relation
For her, to choose which D/s situationships to upgrade to a relationship is like selecting the right seed. Just as we cannot predict what the tree will look like by merely examining the seed, we cannot be sure of what the future holds after committing to a person we trust. Sometimes, we cannot solely rely on the label of the seed to determine if it's the right one for us. It may require extra effort to confirm that it's the authentic seed of the tree we desire. In essence, selecting the right seed and choosing the right person to be in a relationship with require a similar approach. It's essential to examine the situation carefully and put in the necessary work to determine if it's the right seed for us.
Genuine quality resembles a good seed, and it's essential to be certain of its identity. She would never intentionally choose an incorrect seed, dedicating time and energy to nurturing it with care and attention, only to be dumbfounded later, when it turns out the tree isn't what she expected after years of nurturing.
In this scenario, imagine believing you have a seed of a lovely tree, but after a year of watering, it's revealed to be an unattractive and other type of tree instead.
In some wrong cases, she must decide whether to let the wrong tree grow after nurturing it with her efforts, kindness, and time or cut it down. She must weigh the options carefully and consider the future implications of her decision.
If someone believes that just because she had invested a lot of time and effort into a certain pursuit, she should continue down that path even if it is not the right one, they may be mistaken.
The truth is, if something is not the right fit or is simply the wrong tree, it doesn't matter how much dedication and love has been poured into it - it must be cut down.
Continuing to pour resources into a misguided endeavor will only lead to further disappointment and frustration in the long run. It can be difficult to let go of something that we have invested so much of ourselves into, but sometimes the best thing we can do is to accept that it's time to move on and redirect our energies towards a more promising path.
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Head Accessory - LODE - Oleander Aliceband - White_Red
Dress: Belle Epoque - Macey / Exclusive @ C88 Event
C88 - COLLABOR88 Event
Land in Hopkins county was first patented in the period of the Texas Republic, and with the creation of the county on May 25, 1846, the town of Tarrant became the county seat. In 1871, following several boundary charges in which the county lost a portion of its area to Lamar County, the county seat was moved to Sulphur Springs. By 1882, two courthouses had been built in Hopkins County. The third one, erected in 1882 was destroyed on February 11, 1894 by a fire that also burned the jail and several adjacent structures.
On March 24, 1894, the County Commissioners' Court selected J. Riely Gordon of San Antonio as the architect for the new courthouse. The Dallas firm of Sonnafield and Emmins was awarded the contract for construction.
In 1895, Austin architect A.O. Watson was hired to inspect the work. He admired the structure, praising it as a "very neat clean design, conventionally arranged and substantial in its general construction," but suggested additional bracing to strengthen the stonework.
The building was accepted on August 22, 1895, at a final cost of $75,000. A clock for the tower was petitioned for by some citizens, but the County Commissioners refused to provide funds for it.
San Antonio architect J. Riely Gordon was noted for the design of a number of Central Texas courthouses such as the Bexar County Courthouse in San Antonio, the Fayette County Courthouse in LaGrange and the Victoria County Courthouse in Victoria, in which he developed a distinctive Romanesque Revival idiom characterized by use of towers, turrets and similar elements in broken massing, as well as by the use of poly-chromatic ashlar masonry. In a departure from the traditional cross-axial plan, Gordon developed a cruciform layout of a central space surrounded by a gallery and then by adjoining rooms. Convenient to all of the rooms, the stairway was placed in a central position. Access was effected at the re-entrant angles of the resulting Greek cross-plan. The Hopkins County Courthouse, while similar in plan to Gordon's other efforts is sited differently from the traditional layout of Texas courthouses. Located across the street from the main square rather than squarely in the middle, as was usual, it lacks the normal quadrilateral symmetry of entrances, substituting a modified plan with entries on the northwest and southwest.
The broken massing of Gordon's cruciform pattern was readily accommodated by the stylistic vocabulary of the Romanesque Revival. Walls were ashlar masonry in pink granite. Walls and steps were of polished blue granite. Completing the vivid poly-chromatic treatment, voussiors, lintels and strip courses were of red sandstone. A band of stones of contrasting hue, set in a checkerboard pattern forms a border at the roof line. The dominant architectural feature is a hip-roofed central tower set off by ornamental turrets and dormers which break up the roof line. And in the center of the north and south facades below small balconies, are delightful carvings including designs and faces. Heavily carved cartouches, bear the date of construction.
The Hopkins County Courthouse, as described above and with the other buildings of J. Riely Gordon, is a bold and vigorous statement of seats of government. Its overall state of preservation and intrinsic interest as a departure from the standard courthouse layout would appear to mandate its conservation and eventual listing on the National Register of Historic Places (NRHP) on April 11, 1977. All of the information above was found on the original documents submitted for listing consideration and can be viewed here:
catalog.archives.gov/id/40972609
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
The artwork is called GOAVVE-GEABBIL by MÁRET ÁNNE SARA
The following information is quoted directly from the Tate Modern website: "Máret Ánne Sara is a Sámi artist from a reindeer herding family in Sápmi. Her multisensory installation Goavve-Geabbil responds to the history of Tate Modern’s site — a former oil and coal power station — inviting us to view energy not as a resource to be exploited, but as a sacred life-force rooted in ancestral knowledge and interconnection.
Reindeer herding is a cornerstone of Sámi culture, shaping the relationship between people, lands and animals. It recognises the interdependence and intrinsic value of all living beings. Sara combines hides, bones and wood derived from reindeer herding practices with industrial materials, sound and scent, to reflect on the destruction of ecosystems, and the erosion of Sámi culture due to mining and energy developments in Sápmi.
Goavve-Geabbil stands as a living monument, with Sara calling on us to remember that ‘nature is not an endless resource to exploit. If we expect to receive from it, to sustain life for all beings, we must also ensure its health and ability to regenerate’. Through this work Sara upholds Sámi science and philosophy as progressive, powerful and vital to shaping the future of our shared world.
Goavve-Geabbil marks the tenth in a series of commissions in partnership with Hyundai Motor, transforming the Turbine Hall over the last decade."
The hair looks great, but on its own? Not enough. It's that hint of a smile that kept this photo from deletion, from oblivion!
She got into the whole act, laughed when I wanted her to laugh, smiled when I was trying to get her to smile.
When I asked her to punch me, she became giddy and awkward, exactly what I was looking for.
She understood the performance I was looking for, though I saw it as authenticity...but really, I wanted the signifiers of authenticity, that the photos would then capture and reflect back to the audience. My performance (for this one probably kooky and energetic) generated her performance (light and breezy) that would then be viewed not as performance at all, but a glimpse at the real her (who I had only met that day and did not know at all).
I wasn't aware of it at the time, but now I see performance as so intrinsic to the art of portrait photography, it's staggering. Because performance is so intrinsic to people, to how we move through a world filled with other people.
Maybe all this time I've been capturing performances...
I didn't take the original photo ....but I did remove three hikers from the bridge and then painted it.Original photo can be see here: thesoulshines.wordpress.com/2011/11/ Best viewed at the largest size.
© Bob Kramer, Intrinsic Captures, 2011. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.
Dreich. That’s the only word that could ever describe the steel, bitter, relentless, driving rain that pelts off the upright windshield of our Land Rover, as we weave our way along the coastal path that leads to the most westerly point on the British Mainland.
The week has been remarkably sunny and dare I say warm, at our base in Strontian, located at the most easterly point of Loch Sunart, separating the Morvern wilds from the Ardnamurchan Peninsula. We walked in the hills around Strontian one day, then drove over those wilds of Morvern to Lochaline to catch the ferry over to Fishnish another; the Isle of Mull is equally as beautiful and suited for meandering around, taking in the ambience.
Today though we make haste, for our allotted slot at 10:30am at the Ardnamurchan distillery has been shifted earlier to allow my guide enough time to show me around the place before he attends to some rather important duties. I’m chaperoned to the distillery by my father-in-law of last year's electrical lighting fame, affording me the courtesy of any potential drams that may be bestowed upon my eager face. He also loves his Land Rover, so any chance to stretch her legs is reason enough for him.
We’re soon slingshotting around Salen and onwards to Glenbeg, where the road seems to deteriorate further in both width and surface quality - we must work hard for these spoils. A bright white-painted cask end appears indicating there’s one mile left to go before we alight in the stony car park of the Ardnamurchan distillery and visitor centre. We mention it not - this isn’t the first time either of us have been here.
My in-laws visited this place in 2014 just after the distillery opened, enjoying a tour around the only warehouse on site - Warehouse 1 - where the grand sum of four casks had been laid down. A lot has changed since then. I visited in 2022 and in the time since my tour almost a year ago to the day, I too have changed a lot.
I’m nervous. Not because whisky tours make me nervous or because I’m worried I won’t like the whisky, but because I’m hoping to meet the people I’d spent so many months tagging in my Instagram posts and chatting over messages and emails. I guess my nervousness is a poor attempt to mask my desperation that they like me, that I don’t embarrass myself or make them realise I’m a giant fraud.
Last year at this time, the team had assembled at the distillery to blend the 2022 Paul Launois release and I’d been too shy to say hello. It turns out this year they’re doing the exact same thing. Today, in fact.
It’s no secret I'm devoted to the Ardnamurchan way - in fact it’s become a bit of fun for those wanting to tease me about my abject obsession with this place. I’ve spent many hours postulating why the Ardnamurchan distillery resonates so deeply with me, as a person and as a whisky exciter, and over the course of three hours, first in Warehouse 1 then up into the hills, nothing happens to change that. In fact, if you can believe it, my devotion has widened.
We started in the dark, cool climes of Warehouse 1. If you’ve never smelled a whisky warehouse then it's hard to convey the utterly absorbing aroma that greets you upon entry, arriving in waves through your red-hot olfactory machine. It’s easy to spill over into the saccharine romanticism when thinking and speaking about alcohol inside casks plopped inside a building (and oh boy do I fall foul constantly), but it’s undeniably a rather unique place to be. No-one gushes about the alluring aromas of an Amazon warehouse, do they? The difference being that whisky matures inside leaky wooden vessels, and that porosity allows alcohol vapours to find their way into the air circulating around the breezy warehouse and colours the environment with fabulous scents - Angels’ Share is what they call it.
But it’s more than smell - it’s touch and sight too. Casks and their condition are intrinsically linked to the quality and style of maturation and we get to see those variances as we walk along the warehouse. From rough to smooth, bright and clean to looking like a potato that you’ve just dug out the ground; the variety of casks, aesthetically, is quite amazing. If we are so inclined, we can touch the casks, feel their texture and knock on their wooden walls. Sometimes we get to stick our noses inside. There happened to be a cask waiting to get filled, and sniffing through the bung hole the diorama of scents unleashed into my frontal cortex was overwhelming. I managed to blurt out caramel, cherry and vanilla, but in truth it was a million things all at once and making sense of it was impossible - I only wish I could bottle that scent or turn it into a candle.
There’s a tasting element to a warehouse too, and today I was extremely fortunate to be accompanied by 3/5ths of the blending team, who were only too happy to see what was occurring in the warehouse. Drinking whisky decanted, through syphoning via a giant copper straw-like valinch, splashing all over the place before finally finding its way into a glass, surrounded by all this sensory overload is peak whisky for me. The liquid is really cold and viscous. It takes a moment for it to warm up enough in my hand to begin releasing aromas and flavours, but when it does, the mouthfeel, smell, sight and sound of it all is unbeatable. It’s untouched, unfiltered.
It’s been suggested I might soon get to a point where Ardnamurchan stops offering enough to keep my attention, and I’ll start to drift and dabble. Having now tried a number of remarkable whiskies maturing in the cask, from a variety of different cask types, styles, ages and sizes, I have to say I can’t see that happening anytime soon. I kneel down, lower my arms and prepare for the hiss of the blade - perhaps I’m blinkered and naive, or perhaps there’s nothing more to it than simple resonance.
Hmmm. Did you get all that? His words (Dramface) not mine. Landrover, knobbly tyres, type
I have always loved those horse drawn hearses .....thought I'd put that together with a surreal background. Best viewed at the largest size.
© Bob Kramer, Intrinsic Captures, 2011. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.
wine bootle label
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
And it wasn't just the Plane that titled; quite a bit I may add 😨 - especially on the way back and I must admit the poor Spanish lad sat next to me was a star and glad the rewards in heaven that he'd get for his kindness wasn't applied there and then 😁
I must also admit I'm a bit tilted too ❤ (and not just due to the hypermobility 😜)
So on the face the fears malarky even though sans support ..........I needed to do one of the things I've always wanted to but never have ....... and get on a blinking plane again (it's been 30 years 🙈 and accompanied with a mind that likes detail and thinks about things with a dash of minimal risk to ones self - bit contradictory when it will allow wild camps in the middle of nowhere, that's normally stable on the ground though isn't it 😁)
It may come as no surprise that Snowdonia is all I have eyes for, I'd even want the meat suit scattered there when the time comes - it's that intrinsic to me ❤
........
But I have French lineage and never explored further south where my maternal side were until the late 1800s,
It always appealed in that easy safe slow mediterranean way, there's so much history in the areas that though not Welsh there's still Knights Castles, Je suis tres desole - chateaux's 😁Sacred wells, and legends aplenty .......and just so happens my beloved mountains and sea both together, topped off with a beautiful average of 35 degrees - I actually went out with out a coat!!
The geology was so Snowdonia too.....at times I couldn't get over how very similar the geology was.....A port with an Orme like rock, the colours were so familiar it was just so very much bigger and hotter!! I can't wait to read up on it all, I well reckon that West Wales and South France were joined at one state and time of the tectonic Plates.
I'm still in shock over the airports, can you imagine me nervous and as with the majority of us on the spectrum petrified of making a mistake or not being understood 🙈 and I'm not that good at hiding my nerves, and what sane, logical person wouldn't be a bit shaky at being all the way up there with nothing but metal and air between them and that lovely solid stable ground and I'm accident prone enough on that so ?? And of course I've got my kit, so trying to explain and me being me🙈
To be fair my last flight was as I mentioned 30 years ago - Turkey and Turbulence and Machine guns.....and I have watched Midnight Express ......but My kit and me weren't detained at any point.....goodness what I looked like explaining it all - Massive shout out to Sean Security Manchester for gentle equipment handling and taking me to a quiet place to recover from the ordeal ❤
I didn't die of nerves or any other event ( I am glad I didn't know Ryanair 'crashed' into a fence a day or two previous!! )
And the pay off - well for me, 3 days just being me, mountains, coast, warmth, french patisseries, magical sunrises, climbing as high and as far as I could, yes I was lonely at times and scared and it would be lovely to share it all but there's not many as tilted as me 😜 Whereas Hero got spoilt rotten by Uncle Dave next door......
But now I know the area it's got to be with Hero puppy passported up and a camper - though truthfully if a cheap flight comes up he's getting spoilt by uncle Dave.
For all the brave scared but f it anyway titled souls out there
" Fading Beauty "
Background ripening wheat
Thank you most kindly for stopping by to view my work.
If you find you have a few words to say about what I have done they will much appreciated.
My best regards to you.... Martin
There will always be a path to lead you in the right direction.
Canyon De Chelly, Chinle
“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
Well, not for this guy ....looks like he rolls his own. Shot in Santa Monica, California. Best viewed at the largest size.
© Bob Kramer, Intrinsic Captures, 2011. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.
Sun Voyager (Sólfar) is sculpture by Jón Gunnar Árnason. 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.
Looks best on black.
The fountains of Peterhof are one of Russia's most famous tourist attractions, drawing millions of visitors every year. Fountains were intrinsic to Peter the Great's original plans for Peterhof - it was the impossibility of engineering sufficiently powerful jets of water that prompted him to move his attentions from the Strelna site to Peterhof - and subsequent generations competed with their predecessors to add grander and ever more ingenious water features to the parkland surrounding the Grand Palace.
"Everyone has his own reality in which, if one is not too cautious,timid, or frightened, one swims. This is the only reality there is." ~ Henry Miller
Special thanks to encounter - Laura and hibbary for the textures.
Since I won't be here next week, I wanted to wish everyone a very happy Thanksgiving. This is my Thanksgiving image for this year.
© 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.
virtualnightmare.blogspot.com.es/2018/05/promagic-lic_23....
PROMAGIC - *Yanikka* at Blush Event!
L.I.C. - *Slave Bracelets*
Cologne Cathedral (German: Kölner Dom, officially Hohe Domkirche St. Petrus, Latin: Ecclesia Cathedralis Sanctorum Petri et Mariae, English: High Cathedral of Saints Peter and Mary) is a Roman Catholic cathedral in Cologne, Germany. It is the seat of the Archbishop of Cologne, currently, since his 2014 transfer from Berlin, Rainer Maria Cardinal Woelki, and of the administration of the Archdiocese of Cologne. It is a renowned monument of German Catholicism and Gothic architecture and is a World Heritage Site.[3] It is Germany's most visited landmark, attracting an average of 20,000 people a day.[4]
Construction of Cologne Cathedral commenced in 1248 and was halted in 1473, leaving it unfinished. Work restarted in the 19th century and was completed, to the original plan, in 1880. The cathedral is the largest Gothic church in Northern Europe and has the second-tallest spires (after Ulm Minster. See info-box below.) Its two huge spires give it the largest façade of any church in the world. The choir has the largest height to width ratio, 3.6:1, of any medieval church.[5]
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 for 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".
I have a rep , only posting a certain kind of shot , so this isn't nailed , and I am happy for the critique, a 1000th not enough or is it ?
There is some dynamism here ( a term used by the Italian futurist art movement to describe an object's intrinsic and extrinsic motion ) or a tad out of focus :0)
Canon EOS-1D X
ƒ/8.0
300.0 mm
1/1000
ISO 1600
Captured at Venice Beach, California.
© 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.
© all rights reserved by B℮n
The city of Braga is known as the Portuguese Rome for its concentration of religious architecture In Portugal, Braga's population is considered the most conservative, and by some the most pious, by others the most fanatic. The city is one of the most beautiful cities in Portugal. It's lively city, one of the oldest in the country, and is teeming with young people who study at its universities. Built more than 2,000 years ago, Bracara Augusta was, as the name indicates, founded by Augustus; it was located on one of the main Roman roads in the Iberian Peninsula. Braga’s Cathedral is also the oldest in the country and was built in the 12th century by the parents of Portugal’s first King. The original was built in the Burgundian Romanesque style. Construction on the cathedral was then resumed and lasted until the middle of the 13th century, but the details are obscure. It influenced many other churches and monasteries in Portugal in that period. In later times the cathedral was greatly modified, so that today it is a mix of romanesque, Gothic, manueline and baroque styles..
The constant chiming of bells is a reminder of Braga’s age-old devotion to the spiritual world. Its religious festivals are famous throughout Portugal. Braga Cathedral is one of the most important monuments in the historic city of Braga. Due to its long history and artistic significance, the Sé is also one of the most important buildings in all of Portugal. The building’s exterior features a large statue of the Virgin Mary and child amongst Romanesque arches and reliefs of animals and people. The interior of the Cathedral is rich with baroque and Romanesque design elements, an ornate high choir, and several chapels containing the tombs of Braga’s archbishops and members of the Portuguese royal family.
Braga ligt in het midden van Portugal. Braga is de oudste stad van Portugal en de meest heilige, het Rome van Portugal. In Portugal zegt men; "in Lissabon wordt geleefd, in Porto gewerkt, in Braga gebeden". De regio kent een lange geschiedenis, al in de prehistorie woonden er mensen. De stad Braga werd in 300 v.Chr. werd gesticht door de Kelten. In 27 v.Chr. werd het door de Romeinen veroverd die de plek uitbouwden tot een administratief centrum dat zij Bracara Augusta noemden. De uit de 12e eeuw stammende kathedraal Sé de Braga is het meest belangrijke monument van de stad. De bouwstijl van deze kerk heeft vele kerken en kloosters uit Portugal beïnvloed. Nadat de stad rond 1071 weer in handen van de christenen was gevallen, begon bisschop Pedro met de bouw van een kathedraal. Nadat Braga tot bisschopsstad was uitgeroepen werd de bouw van de kathedraal hervat. In latere tijden werd er veel verbouwd en aangebouwd aan de kathedraal zodat we nu een bouwwerk hebben met romaanse, gotische, barokke en Manulijnse stijlen. Zo werden er meerdere kapellen toegevoegd. De westelijkegevel met de hoofdingang is sober maar robuust van aanzien en heeft aan iedere zijde een klokkentoren met een balustrade en sierlijke bogen als afdekking. Tussen de torens staat een nis met een levensgroot beeld van Maria en kind Jezus. De Maagd Maria werd in de loop der tijden op verschillende wijzen vereerd en is alom aanwezig. Bezoek de aan de Maagd gewijde godshuizen en ontdek deze vurige devotie op de katholieke feesten in Portugal. De kerk heeft een museum met waardevolle fraaie kunstschatten.
Wanting to live this life free of hurt and crash and chaos is not something selfish. Sometimes we embrace these things as part of us and do not realize we are but allowing them to be a made us when they should never cease to be but part of moments not intrinsically who we are in ourselves. To feel hurt is not the same as to be hurt. They are not one and the same. Such as it is not the same to feel happy and be happy. It's hard, so damn hard for me not to become the feelings that cling into my heart at times. Yet we need to cease to romanticize heartbreak and sadness and symptoms of depression and we need to be able to speak of them and feel encouraged to translate our hearts to others. Society is making us become cold with one another, when our intelligence and means of communication should be taken to better be able to connect and be kind and be guardians of each other. It is so heartbreaking to realize where we have been heading and powerful to think that if everybody cares about peace and being happy and fulfilled we can all walk towards new and more sensible beginnings. Let's connect towards goodness, people. This universe, this point in life, planet earth and every breathing atom in it deserves it.
Shooting this girl is always beyond beautiful. She is beautiful.
The Padaung women, part of Myanmar's Kayan tribe, wear brass neck coils, a centuries-old tradition symbolizing cultural heritage and beauty ideals. Despite debate and external influence, many uphold this practice as an intrinsic part of their identity, representing tradition, cultural pride, and perceptions of beauty within their community.
It was such a beautiful day today I thought I'd take a hike; however, I decided to post a picture of a hike instead.
The Grand Prismatic Spring is 370 feet in diameter and the largest of the hot springs in Yellowstone. The center is an intense azure blue. Created by the unique bacteria and algae that live within each hued band of mineral-rich water, the reds, oranges, yellows, greens surround a deep blue core that is too hot to sustain life. The deep blue color of the water in the center of the pool results from the intrinsic blue color of water, itself the result of water’s selective absorption of red wavelengths of visible light. Though this effect is responsible for making all large bodies of water blue, it is particularly intense in Grand Prismatic Spring because of the high purity and depth of the water in the middle of the spring.
• Grand Teton/Yellowstone Photo Tours
The Sevierville Post Office is a one story Colonial Revival style Federal building constructed by the Works Projects Administration (WPA) in 1940. The building is located two blocks east of the courthouse on the corner of Bruce Street and Park Road in Sevierville, Tennessee. It is a great representation of the impact of the New Deal on the built landscape and an excellent example of a federal building constructed by the Works Progress Administration (WPA) during the Great Depression. The WPA was established during Franklin Roosevelt's first administration to provide work relief to unemployed professionals. From the beginning, the concept of work relief rather than direct aid was an intrinsic part of the planning of the New Deal. Under the WPA, new federal buildings were constructed in cities and towns across America, a majority of them being post offices. In its final report of 1939, the Public Works Administration (PWA), created in 1933 to disburse funds for construction projects that would benefit the public, characterized the local post office as the most typical and widely used of its building projects, representing ⅛ of all PWA construction projects.
Almost all designs for Federal buildings located outside the District of Columbia originated within the PWA. Designs and plans were standardized and tended towards a simplified classical style or the Colonial Revival style. These styles were so dominant that they became symbolic of the Federal government itself. The standard plan included a public lobby separated from a large workroom. Some projects reserved one percent of their budgets for public art with the result that many public buildings were decorated with paintings or sculptures. For reasons unknown, Sevierville's Post Office was never decorated in such a manner. America's entrance into World War II ended funding for many public works projects as monies were diverted for war preparations.
In Sevierville, J.F. and N. McMahan Construction Company was awarded the bid to construct a new post office in 1940. J.F. and N. McMahan Construction was an African-American firm responsible for many of the brick structures in Sevier County. The McMahans were also active in politics and education, and were respected by whites and African-Americans throughout the community. The firm, incorporated around the turn of the century, was named for James, Fred, and Newt McMahan, three brothers who were prominent builders and businessmen. Fred McMahan was recognized as the head of the company. After graduating from the University of Illinois at Champaign-Urbana with a Master's Degree in Architectural Engineering, he established a small farm in Sevier County. McMahan donated a portion of this farm for the establishment of Pleasant View School. The McMahan Construction Company also donated the labor and materials needed for the construction of this Rosenwald School. The school is distinguished as the first brick school in Sevier County (Rosenwald schools were usually of frame construction), and the largest school for African-Americans in the county. Fred's wife, Mary McMahan taught at the school from 1922 until her retirement in 1960. She was also the first woman in Sevier County to earn a Master's degree.
Today, the former Sevierville Post Office stands as a testament to the work of the Works Progress Administration (WPA) and the Public Works Administration (PWA) of the New Deal era as well as a testament to the workmanship of the McMahan Construction Company. The building was sold to Sevier County for $75,000.00 in 1989 when a new facility was constructed. At that time, a historic preservation covenant was placed on the property requiring review and approval by the State Historic Preservation Officer for any future actions taken concerning the property. And now, since 1995, the old post office is home to the Sevier County Heritage Museum which contains a great collection of artifacts from numerous newspaper articles of events, outerwear of the citizens and military, furniture, tools of all kinds, and much more depicting the history of Sevier County.
On March 15, 1997, the Old Sevier County Courthouse was added to the National Register of Historic Places (NRHP) for its abundance of history as described above. All of the information above was found on the original documents submitted for listing consideration and can be viewed here:
npgallery.nps.gov/NRHP/AssetDetail/146bea86-5b0e-4735-bd2...
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
EARTH DAY 2019
“Nature’s gifts to our planet are the millions of species that we know and love, and many more that remain to be discovered. Unfortunately, human beings have irrevocably upset the balance of nature and, as a result, the world is facing the greatest rate of extinction since we lost the dinosaurs more than 60 million years ago. But unlike the fate of the dinosaurs, the rapid extinction of species in our world today is the result of human activity…If we do not act now, extinction may be humanity’s most enduring legacy…All living things have an intrinsic value, and each plays a unique role in the complex web of life. We must work together to protect endangered and threatened species.” ~ www.earthday.org
Great Egret, Ardea alba
Although this is not an actual legal tender coin, it is intrinsic to the use of coinage in England in the late 1700s. The image shows the obverse and reverse of a guinea coinweight from the reign of George III. New legislation came in in 1775 to redefine the weight of a (gold) guinea and these coinweights were used to check coins which were offered in payment. The figures on the reverse show that this weight was 5 pennyweight and 8 grains (24 grains = 1 pennyweight = 0.055 ounces = 1.56 grams) and the peculiar-looking mark stamped between the 5 and the 8 is an (inverted I think) coffee pot, the mark of the Founders Company in London indicating that the coinweight has been checked and certified correct. The weight is 20 mm (3/4") in diameter.
Nature, in the broadest sense, is equivalent to the natural world, physical world, or material world. "Nature" refers to the phenomena of the physical world, and also to life in general. It ranges in scale from the subatomic to the cosmic.
The word nature is derived from the Latin word natura, or "essential qualities, innate disposition", and in ancient times, literally meant "birth".[1] Natura was a Latin translation of the Greek word physis (φύσις), which originally related to the intrinsic characteristics that plants, animals, and other features of the world develop of their own accord.[2][3] The concept of nature as a whole, the physical universe, is one of several expansions of the original notion; it began with certain core applications of the word φύσις by pre-Socratic philosophers, and has steadily gained currency ever since. This usage was confirmed during the advent of modern scientific method in the last several centuries.[4][5]
Within the various uses of the word today, "nature" often refers to geology and wildlife. Nature may refer to the general realm of various types of living plants and animals, and in some cases to the processes associated with inanimate objects – the way that particular types of things exist and change of their own accord, such as the weather and geology of the Earth, and the matter and energy of which all these things are composed. It is often taken to mean the "natural environment" or wilderness–wild animals, rocks, forest, beaches, and in general those things that have not been substantially altered by human intervention, or which persist despite human intervention. For example, manufactured objects and human interaction generally are not considered part of nature, unless qualified as, for example, "human nature" or "the whole of nature". This more traditional concept of natural things which can still be found today implies a distinction between the natural and the artificial, with the artificial being understood as that which has been brought into being by a human consciousness or a human mind. Depending on the particular context, the term "natural" might also be distinguished from the unnatural, the supernatural, or synthetic.
Aglaia Konrad étudie le développement de la métropole mondiale, l’expansion des agglomérations urbaines et l’essor de la mégapole dans des lieux aussi divers que Sao Paulo, Pékin, Chicago, Dakar et Le Caire. Konrad s’intéresse aux paramètres sociaux, économiques, historiques et politiques qui informent et sous-tendent l’architecture et l’urbanisme, ainsi qu’à l’exploration de la présence physique de l’architecture et des types de bâtiments, en particulier ceux de la généalogie moderniste. En se concentrant sur le tissu physique de l’environnement urbain construit et de l’hyper-ville, sa pratique basée sur l’objectif capture et transcrit méticuleusement sa qualité virale et son sens aliénant du spectaculaire, tout en maintenant toujours une distance objective.
Iconocopycity est une installation de copies agrandies de sa monographie Iconocity (2005). Il s’agit d’une aventure photographique associative à travers des espaces urbains, réunis en un essai visuel. La juxtaposition des copies sur une même surface génère un paysage urbain alternatif. Le couvercle de la photocopieuse étant resté ouvert pendant la numérisation, des bandes noires ont été créées. Celles-ci ajoutent un nouveau rythme aux photos. Iconocopycity dévoile ainsi les contradictions entre l’architecture d’un livre et l’espace réel. Pour Aglaia Konrad, la photographie, le livre, la copie et le dispositif d’exposition sont toujours intrinsèquement liés.
Aglaia Konrad studies the development of the global metropolis, the expansion of urban agglomerations and the rise of the megacity in places as diverse as Sao Paulo, Beijing, Chicago, Dakar and Cairo. Konrad is interested in the social, economic, historical and political parameters that inform and underpin architecture and urban planning, as well as exploring the physical presence of architecture and building types, particularly those of modernist genealogy. Focusing on the physical fabric of the built urban environment and the hyper-city, his lens-based practice meticulously captures and transcribes its viral quality and alienating sense of the spectacular, while always maintaining an objective distance.
Iconocopycity is an installation of enlarged copies of his monograph Iconocity (2005). It is an associative photographic adventure through urban spaces, brought together in a visual essay. The juxtaposition of copies on the same surface generates an alternative urban landscape. Because the copier lid was left open while scanning, black bands were created. These add a new rhythm to the photos. Iconocopycity thus reveals the contradictions between the architecture of a book and real space. For Aglaia Konrad, photography, the book, the copy and the exhibition system are always intrinsically linked.
Getting to be that time of year again ......always fun to do holiday images. This was a black and white image of a singer I found on the Internet. Thought I could transform it into a Halloween image.
© 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 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.
A new type of dune, called “wind-drag ripples,” found last year by the Curiosity rover in Gale Crater. The dune is a part of the Bagnold Dune Field, on the the northwestern flank of Mount Sharp. The images were taken in early morning, with the camera looking in the direction of the sun. This mosaic combining the images has been processed to brighten it and make the ripples more visible. The sand is very dark, both from the morning shadows and from the intrinsic darkness of the basaltic minerals that dominate its composition. The base of Mount Sharp can be seen beyond the dunes.
A imagem retrata a singular paisagem cultural de Sistelo, em Arcos de Valdevez, um exemplo notável de adaptação humana ao terreno acidentado do Alto Minho. Os socalcos, patamares construídos com muros de pedra granítica, transformaram encostas íngremes em solo arável, otimizando o cultivo e prevenindo a erosão. Esta técnica ancestral, transmitida ao longo de gerações, permitiu a produção de milho, feijão e outros bens essenciais. Integrada na paisagem, a arquitetura rural tradicional, com edificações em alvenaria de pedra, reflete a ligação intrínseca entre o património edificado e o ambiente agrícola. Este sistema agrícola, complementado por uma eficiente gestão hídrica através de levadas, demonstra uma simbiose secular entre o homem e a natureza. Reconhecendo o seu valor cultural, histórico e ambiental, Sistelo foi classificado como Monumento Nacional em 2017, a primeira paisagem cultural em Portugal a receber tal distinção, sublinhando a importância da sua preservação.
The image depicts the unique cultural landscape of Sistelo, in Arcos de Valdevez, a remarkable example of human adaptation to the rugged terrain of the Upper Minho. Terraces, built with granite stone walls, have transformed steep slopes into arable land, optimizing cultivation and preventing erosion. This ancestral technique, passed down through generations, has enabled the production of corn, beans, and other essential goods. Integrated into the landscape, the traditional rural architecture, with stone masonry buildings, reflects the intrinsic link between the built heritage and the agricultural environment. This agricultural system, complemented by efficient water management through levadas, demonstrates a centuries-old symbiosis between man and nature. Recognizing its cultural, historical, and environmental value, Sistelo was classified as a National Monument in 2017, the first cultural landscape in Portugal to receive such a distinction, underlining the importance of its preservation.
The Veil nebula is a supernova remnant in the constellation Cygnus about 1500 ly away. This composite shows the Hydrogen alpha (Ha) and doubly ionized oxygen (OIII) emission and contains NGC6992 and NGC6995 collectively known as the Network nebula on the left, and the Witch's Broom, NGC6960, which is close to the bright foreground star 52 Cygni on the right.
The progenitor supernova exploded an estimated 5000-8000 years ago and the full diameter is 3 degrees, giving a size of around 50 ly. The remnant emits radio, infrared, visible light and is also a very bright source of X-rays. As with the Western Veil nebula, the emission filaments are thought to be the edge-on view of the thin shell of expanding gas. The entire 3 degree field contains this gas, but it's only in this edge-on view that the shell is visible. The supernova must've been quite a site to our ancestors. For reference, it's about 4.3x closer than the supernova that left the Crab nebula remnant, M1, in 1054 AD, which had an apparent magnitude of -6.5 at it's peak. For supernovae with the same intrinsic brightness, this would give a 18x increase in brightness, or around 3.2 magnitudes.
Details:
Scope: TMB92SS
Camera: QSI683-wsg8
Guide Camera: Starlight Xpress Ultrastar
Mount: Mach1 GTO
Ha: 24x15min
OIII: 24x15min
12 hrs total
Yet again, Roa the elusive graffiti artist has stamped his
distinctive seal overnight, on a gigantic scale on the side
of a four storied building in London, to transform it into
a notable work of art and send its intrinsic value soaring.
This NASA/ESA Hubble Space Telescope image shows the spiral galaxy NGC 3021 which lies about 100 million light-years away in the constellation of Leo Minor (The Little Lion).
Among many other types of stars, this galaxy contains Cepheid variable stars, which can be used work out the distance to the galaxy. These stars pulsate at a rate that is closely related to their intrinsic brightness, so measurements of their rate of pulsation and their observed brightness give astronomers enough information to calculate the distance to the galaxy itself.
Cepheids are also used to calibrate an even brighter distance marker, that can be used over greater distances: Type Ia supernovae. One of these bright exploding stars was observed in NGC 3021, back in 1995.
In addition, the supernova in NGC 3021 was also used to refine the measurement of what is known as the Hubble constant. The value of this constant defines how fast the Universe is expanding and the more accurately we know it the more we can understand about the evolution of the Universe in the past as well as in the future. So, there is much more to this galaxy than just a pretty spiral.
Credit: ESA/NASA
Precedence: First-ever LEGO diorama of the full Taj Mahal complex
Parts: 17,600+ (~550 unique)
Scale: 1:650
Dimensions: 21in x 43in (53cm x 108cm)
Design Time: 120+ hours in 14 days
Build Time: 75+ hours in 8 days
PC: Eric Clarke
______________________________________
It is often said that from the darkness of the greatest tragedies, far greater triumphs may come to light. Perhaps nowhere else on Earth has this proverb materialized more profoundly than in the tragic death of Mumtaz Mahal rousing a grief-stricken Shah Jahan to commemorate his undying devotion to his late wife in a mausoleum and garden complex matched only in beauty and splendor by the radiant visage of the empress herself. The Taj Mahal is the physical manifestation of this transcendent love and is indisputably one of the finest examples of Mughal and Islamic architecture in South Asia – to say nothing of its level of instant recognizability as an icon of India the world over.
Taj Mahal was commissioned in 1632 and was built along the southern bank of the River Yamuna over the course of twenty years. It is said that its construction enlisted a workforce of no fewer than 22,000 laborers, some 1,000 elephants, and numerous skilled craftsmen from across Asia and Europe. The central white marble mausoleum – with its signature iwan and pishtaqs (vaulted rectangular opening and arch-shaped portals, respectively, of Indo-Islamic architecture) and iconic amrud (guava-shaped) dome – is the primary feature of the Taj Mahal and the axial center of the prevailing bilateral symmetry. Unbeknownst to most casual observers, however, the mausoleum is just one small aspect of a much larger, 42-acre complex. The broader compound is built mostly of red sandstone and consists of a tripartite layout; a forecourt with servants' quarters and royal tombs amidst a quadrangle before the Darwaza-I Rauza (main gate); a central Mughal Garden known as a Charbagh; and finally, the platform with an identical mosque and guesthouse on either side of the marble mausoleum.
If one thing is for certain, it is that the mausoleum at Taj Mahal has a rather ubiquitous status when it comes to LEGO representations. For myself, inspiration goes hand-in-hand with intrinsic motivation. As a result, I always need to find my own reasons for taking the time to design and build projects of this scale. In recent years, my work has taken on much more of a heritage-first outlook, in which I seek to highlight particular landmarks or landscapes that may be at risk due to any number of factors. Taj Mahal first came across my radar when I learned that much of the sandstone and marble structures are in constant need of repair, requiring a full-time restoration team mostly made up of the descendants of the original builders. In addition, environmental factors such as pollution and acid rain have weathered many of the ornamental details more quickly than usual. Meanwhile, the river Yamuna bursts its banks more frequently than it has in the past several centuries, raising concerns over the stability of the riverside platform foundations. While this is likely the first-ever LEGO diorama of the entire complex, I think the more relevant superlatives going forward will be those aforementioned facts. Whenever this piece is exhibited, it will always be presented alongside infographics which celebrate the story of triumph out of tribulation behind the realization of this masterpiece of Mughal architecture, including biographies of Shah Jahan and Mumtaz Mahal. Just as well, it will always remain important to cite the very clear and present concerns over the site's long-term preservation, and the vital daily roles that those descendants of the original builders play in accomplishing that goal.
It’s a deeply held belief of mine that life and photography are intrinsically linked. Allowing your life experience to flow into your artwork will undoubtedly make you better and open up a deeper connection to what you are creating. I see street photographers doing this all the time as they think carefully about the story and the way in which they use shape, light and carefully position people in the frame with good timing. Landscape Photographers often find it more difficult. By nature we are often very technical, precise, practical and logical. These are attributes that serve the landscape photographer well because a great shot will often take a huge amount of planning. Getting in touch with our artistic side (and emotions) is another matter that many find very hard.
With the re-launch of my Podcast now called the Raw Room Photography podcast I want to start sharing more of my experiences that have shaped my life and now affect my work. I am not always sure exactly how it is guiding me but I know it is - crazy stuff I saw from the aftermath of terrorist attacks, terrible car crashes, tragic domestic situations and murders. I was also attacked with a knife on three separate occasions which was always interesting. However there were also amazing moments like the Olympics and many many funny moments. These formative experiences shape my life philosophy that, consciously or not, drives my photography.
There is an easier way though. Simply return to a location that means something to you. A place in your past that was relevant or special. That’s exactly what I did with this shot from the Durham Coast. I tell the story in my latest video and it turned into a fantastic day out with my dad.
To penetrate into the essence of all being and significance,
and to release the fragrance of that inner attainment for
the guidance and benefit of others, by expressing in the
world of forms - truth, love, purity and beauty - this is
the sole game that has any intrinsic and absolute worth.
All other incidents and attainments can, in themselves,
have no lasting importance.
~Meher Baba
I followed the procedure, first, as outlined here: brilliantdays.com/archives/2005/10/how_to_create_a.php ,
and in the flickr Amazing Circles group: www.flickr.com/groups/amazingcircles/discuss/116859/
I Am using the basic wondrous polar coordinates transformations as beautiful in and of themselves, but also as starting points for grounding them in their origins and/or creating new relationships for them.
Using the recent rave in Photoshop transformations, then trying to save a little bandwidth led me to go beyond combining variations into a patchwork 4-pane grouping.
I have now replaced the original version of this image twice, now, with refined versions, but have Also made a further version of it, which can be seen here:
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.
Excerpt from secure.toronto.ca/nm/api/individual/notice/2413.do:
Description
Take notice that Toronto City Council intends to designate the lands and building known municipally as 425 Cherry Street under Part IV, Section 29 of the Ontario Heritage Act.
Reasons for Designation
The property at 425 Cherry Street is worthy of designation under Part IV, Section 29 of the Ontario Heritage Act for its cultural heritage value, and meets Ontario Regulation 9/06, the provincial criteria prescribed for municipal designation under 5 criteria of design and physical, historical and associative, and contextual values.
Description
The property at 425 Cherry Street is located at the southeast corner of Front Street East and Cherry Street. The building is comprised of a three-storey structure fronting on Cherry Street, with a three-storey warehouse addition behind, extending along Front Street East. The building was constructed in three major stages - the two-storey Palace Street School, constructed in 1859 and designed by architect Joseph Sheard in the Jacobean style with an addition in 1869 by architect William Irving; the three-storey Cherry Street Hotel, constructed in 1890 incorporating the former school and designed by architect David Roberts Jr. in the Queen Anne Revival style; and the three-storey warehouse, constructed in c.1920.
Statement of Cultural Heritage Value
Design and Physical Value
The property at 425 Cherry Street is valued as a representative example of an evolved building type and style, reflecting the evolution of the property from its early use as one of the city's early "free" schools, to a hotel, a warehouse, and a restaurant. The building contains representative elements of the Jacobean and Queen Anne Revival styles, the former being used for many of the first schools constructed by the Toronto Board of Education, and the latter a popular style in Toronto for house form and hotel buildings between 1880 and 1910. While altered through later additions, elements of the Jacobean style can be seen on the first two floors of the former school's west and south facades, including the use of brick cladding (buff and red), brick quoins at the window surrounds and at the building's corners, the symmetrical organization of the facades featuring central projecting frontispieces bound by large rectangular window openings; and the stone drip moulds over the south entrance and the second storey window above. The building's Queen Anne Revival style is evidenced in the portion of the building constructed as the hotel (at the corner of Front and Cherry Streets) and in the third floor addition above the former school, and include the mansard roof with dormer windows; the arched window openings on the second storey; the elaborate use of brick ornamentation at the second storey cornice; the large plate-glass storefront windows with sandstone details; and the Dutch gable with inset Palladian window opening. The three-storey warehouse addition features elements indicative of the warehouse building type, including large rectangular window openings with cast stone lintels and brick sills; a flat roof with brick parapet; and minimal architectural ornamentation.
Historical and Associative Value
The historical and associative value of the property at 425 Cherry Street resides in its construction as the Palace Street School (1859), its subsequent adaptive reuse as the Cherry Street Hotel (1890) it's later conversion for use as a warehouse for various manufacturing and transportation-related businesses (1920), and its having been the location of the Canary Grill, from 1965 to 2007. Originally constructed in 1859 as one of the early "free" schools built in Toronto by the Toronto Board of Education and the first free school to serve St. Lawrence Ward, the one-storey schoolhouse was designed by architect, alderman and future Mayor of Toronto, Joseph Sheard. In 1869 the structure was expanded to the designs of architect William Irving, a former apprentice in Sheard's office and a prolific architect in Toronto through the second half of the 19th century. The Palace Street School is also associated with Georgina Stanley Reid, an educator with the Toronto Board of Education who served as principal of the school from 1882 until its closure in 1887, and who continued to serve as principal of its replacement school, Sackville Street Public School (now Inglenook Community School), until her retirement in 1912.
Following construction of the larger Sackville Street Public School in 1887, the Toronto Board of Education sold the property to brewer, businessman, and real estate developer Robert Thomas Davies, who had the building converted into a hotel to the designs of architect David Roberts Jr. in 1890. David Roberts Jr. had previously designed much of the nearby Gooderham and Worts Distillery, as well as a number of hotels, including the nearby Dominion Hotel on Queen Street East, which was also owned by Davies. Robert Davies was an influential industrialist in late Victorian Toronto who owned a concentration of businesses along the Don River; he was the founder of the Dominion Brewery, and later owned the Don Valley Brick Works and Don Valley Paper Company Limited. The hotel which at various times was called the Iverson Hotel, Darcy's Hotel/Hall, Eastern Star Hotel, and Cherry Street Hotel, was a fixture within the Corktown community from 1890 to 1910, however its role within the neighbourhood diminished alongside the demolition of the surrounding area's residential character, the displacement of the neighbourhood's working-class residents, the relocation of the nearby Don Station, and the expansion of railway lines and supporting industries. The property was subsequently converted for warehouse and manufacturing use, and the three storey warehouse addition was constructed on the east façade of the building c.1920.
In 1965 the Canary Grill moved into the first floor, and became a well-known establishment within the area catering to those employed in transportation and manufacturing-related industries, as well as commuters. Through the latter half of the 20th century studio spaces within the building were leased to a wide range of creative and cultural tenants, including musicians, artists, manufacturers and cultural sector workers. In the late 1980s, the property was expropriated as part of the joint municipal and provincial governments' plans to redevelop the West Don Lands into a new neighbourhood, called "Ataratiri". The expropriation resulted in the eviction of many of the building's tenants, however the Canary Grill remained open until 2007, after which the building was fully vacated.
Contextual Value
Contextually, the Palace Street School / Cherry Street Hotel is significant in its relation to the former Canadian National Railways Office Building, located on the northeast corner of Front Street East and Cherry Street, and is part of a larger post-industrial landscape within the West Don Lands, which includes the Gooderham and Worts Distillery, Cherry Street Interlocking Station, and the Dominion Foundry Complex. The CNR Office Building was constructed in 1923, and is recognized on the City of Toronto's Heritage Register. The two buildings complement each other, with similar setbacks from the corner and with a common low-scale brick clad form. Together, the properties form a gateway into the West Don Lands neighbourhood, a mixed-use area constructed as part of the 2015 Pan Am and Para Pan Games, and form a significant landmark within the community.
Heritage Attributes
Design and Physical Value
Attributes that contribute to the value of the property at 425 Cherry Street as representative of the Jacobean style and the Queen Anne Revival style include:
- The scale, form and massing of the former school and hotel buildings
- The symmetrical organization of the facades of the former school building, featuring centre bays bound by large rectangular window openings
- The setback of the former school building from the hotel addition on the west facade
- The use of brick cladding (buff and red) with stone foundations and sandstone detailing
- The brick detailing, including the corbelling below the mansard roof on the former school building the inset detailing on the west façade of the former hotel, and the engaged brick pier on the third floor of the west façade that extends above the cornice line alongside the corner window
- The ornamental wrought iron railing set above the corner entrance to the former hotel building
- The brick quoins, located at the corners of the former school building, the protruding bays, and the window surrounds
- The stone drip moulds over the entrance on the south facade and the second storey window above
- The mansard roof with high hipped dormers extending above the roofline
- The brick end wall on the south façade, with stepped brick detailing
- The flat headed window openings on the former school building with splayed brick lintels
- The arched window openings on the second floor of the former hotel building with radiating brick voussoirs
- The flat headed window opening set within the curved corner above the primary entrance of the hotel building
- The two-over-two hung wood windows on the former school and hotel buildings
- The entrances to the former school building on the south and west facades, both set within brick openings with shoulder arched openings
- The prominent corner entrance to the former hotel building, set atop a short flight of stairs and within a chamfered corner, with a large transom window above
- The round arched door opening on the north façade, which has been infilled
- The brick chimney on the north façade, with inset brick detailing at the third floor and above the roofline
- The large plate-glass storefront windows on the west facades with sandstone details set between brick and sandstone pilasters and below a metal-clad signboard and cornice
- The Dutch gable with inset Palladian window opening and featuring a radial transom window
Attributes that contribute to the value of the property at 425 Cherry Street as representative of the warehouse building type include:
- The scale, form and massing of the three-storey warehouse addition
- The red brick cladding with brick foundation
- The regular rhythm of the large rectangular window openings with cast stone lintels and brick sills, and multi-pane steel sash windows;
- The flat roof with brick parapet.
Attributes that contribute to the contextual value of 425 Cherry Street at the intersection of Front Street East and Cherry Street and its identification as a local landmark include:
- The setback, placement and orientation of the building, with its corner entrance and prominent curved corner windows above facing towards the intersection of Front Street East and Cherry Street
- The view of the building looking east on Front Street East from Cherry Street, and in relation to the adjacent Canadian National Railway Office Building
Full Count (1990)
bronze casting with brown patina; artist proof.
— John Dreyfuss (American, b. 1949)
On the Tennessee Riverwalk, in front of the...
Chattanooga (Bluff View), Tennessee, USA
10 October 2021.
▶ Closeup of batter's face: here.
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▶ "Baseball says so much about who we are. It is a way to bind ourselves together emotionally. It is the game we play, and the game most emulated by those interested in our culture."
— John Dreyfuss (placard in front of sculpture)
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▶ "John Dreyfuss employs classical tools and techniques to create works in bronze, steel, iron, and, more recently, composite materials used in the aerospace industry. His work is grounded in the study of animal and architectural forms, with an emphasis on the refinement and adaptation of three-dimensional structures over time and space. His training in both architecture and sculpture found a poetic fusion in the essential duality of his work, where abstracted lines blend seamlessly with the lifelike shapes and textures intrinsic to sculptural realism. Dreyfuss studied at the University of Pennsylvania School of Architecture, Philadelphia, and the Harvard University Graduate School of Design, Cambridge, Massachusetts. He has exhibited extensively in the United States and abroad."
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▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
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▶ Camera: Olympus OM-D E-M10 II.
— Lens: Olympus M.40-150mm F4.0-5.6 R.
— Edit: Photoshop Elements 15, Nik Collection.
▶ Commercial use requires explicit permission, as per Creative Commons.
That's another shot of my "pet" jumping spider that was rescued from the wasp. I took her out for lunch a couple of times. Even though her intrinsic drive to act was pretty inhibited, she would always immidiately grab prey that I presented to her. Here she got a juicy fly on the same piece of wood on which I found the fungus weevil of the previous post.
stack of 4 images
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.