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Memorial dedicated to Tony Hancock by Bruce Williams, 1996. In the background is the tower of the Methodist Central Hall, Old Square, Birmingham.
Anthony John "Tony" Hancock (12 May 1924 – 24 June 1968) was an English comedian and actor.
~Tony Hancock in Hancock's Half Hour. :))
"Look at this China Dog. A family heirloom. Intrinsic sentimental value, this. It was my mother's. Clacton's Fairground, 1926. She struck three darts in the six of diamonds without batting an eyelid. And Drunk, I might add. A feat unequalled by the rest of the coach outing."
Happy Day my friends!
The "Wire Artisans Guild" theme challenge for the Month of March is "Emerald Isle". As St. Patty's Day is in March, all things Irish (and all things green, for that matter) are intrinsically linked together in my mind.
But, with this necklace I depart from the story of St. Patrick and venture into the violent & seductive epoch of Ireland's heroic age...
Maeve, the queen of Connacht, looms larger than life in the Ulster Cycle of Irish Mythology. No delicate and dainty queen, she had several husbands and countless lovers in an attempt to satisfy her seemingly insatiable libido. Nor did she hesitate to fight and kill in order to get what she wanted; She went to war in order to obtain the prize stud- bull, Donn Cúailnge, and prevent her husband's wealth from surpassing her own...
This necklace, all golden and flashing green, is my tribute to that intoxicating and provocative queen.
Globular clusters are inherently beautiful objects, but the subject of this NASA/ESA Hubble Space Telescope image, Messier 3, is commonly acknowledged to be one of the most beautiful of them all.
Containing an incredible half-million stars, this 8-billion-year-old cosmic bauble is one of the largest and brightest globular clusters ever discovered. However, what makes Messier 3 extra special is its unusually large population of variable stars — stars that fluctuate in brightness over time. New variable stars continue to be discovered in this sparkling stellar nest to this day, but so far we know of 274, the highest number found in any globular cluster by far. At least 170 of these are of a special variety called RR Lyrae variables, which pulse with a period directly related to their intrinsic brightness. If astronomers know how bright a star truly is based on its mass and classification, and they know how bright it appears to be from our viewpoint here on Earth, they can thus work out its distance from us. For this reason, RR Lyrae stars are known as standard candles — objects of known luminosity whose distance and position can be used to help us understand more about vast celestial distances and the scale of the cosmos.
Messier 3 also contains a relatively high number of so-called blue stragglers, which are shown quite clearly in this Hubble image. These are blue main sequence stars that appear to be young because they are bluer and more luminous than other stars in the cluster. As all stars in globular clusters are believed to have formed together and thus to be roughly the same age, only a difference in mass can give these stars a different color. A red, old star can appear bluer when it acquires more mass, for instance by stripping it from a nearby star. The extra mass changes it into a bluer star, which makes us think it is younger than it really is.
Image credit: ESA/Hubble & NASA, G. Piotto et al.
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
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Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
七月盂蘭 Mid Summer Ghost Story
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
Caves & Temples
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Unlike the Grand Lantern which stood right at the center, shinning its guardian over the whole ceremony; by the corner, a waxed-paper lantern is seen hanging high up from a bamboo.
This lantern is called the Light of Summon, day and night, sending invitation to the spiritual "good brothers" from far to join this salvation ceremony, the higher it hangs, the further it will summon and relatively, more oblation materials are to be prepared. Therefore, the scale of the ceremony can be seen through the height of this lantern.
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** Origin and facts of the Hungry Ghost Festival:
The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
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More images of the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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Photo shot with Nikon D600 + AF-S NIikkor 50mm f/1.8G
Edited with Photoshop CS5
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A glorious day to walk the dog along the beach pathway in Cambria, California. Well, it may not look exactly like this, but one can always dream.
© Bob Kramer, Intrinsic Captures, 2013. 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 © 2013. 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.
A consequence of the mass–energy equivalence is that if a body is stationary, it still has some internal or intrinsic energy, called its rest energy, corresponding to its rest mass. When the body is in motion, its total energy is greater than its rest energy, and, equivalently, its total mass (also called relativistic mass in this context) is greater than its rest mass. This rest mass is also called the intrinsic or invariant mass because it remains the same regardless of this motion, even for the extreme speeds or gravity considered in special and general relativity...(Wikipedia)
I think that what that all means is when you ride a motorcycle, go real fast...
copyright SB ImageWorks
Happy Thanksgiving to all ....
Colorized and painted from a black and white photo.
© Bob Kramer, Intrinsic Captures, 2018. 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 © 2018. 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.
I think this photo was originally an ad for Arthur Murray Dance Studio. (for those of you old enough to remember them)
© Bob Kramer, Intrinsic Captures, 2016. 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 © 2016. 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.
| Illustration_ Martin Grohs
| Created for the Intrinsic Nature - Experiment 12
"Everybody is like a moon - one has a dark side which one shows to nobody."
Please take a look at the DETAILS
© Martin Grohs 2012. All rights reserved.
This is not a stock image. This image may not be reproduced in any form without my written permission.
I did not take this photo, but I did change the background, added the snow, added the fog and tried my hand again at painting it. Best viewed at the largest size.
© Bob Kramer, Intrinsic Captures, 2012. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.
Carrières de Lumières
- The only video equipment of its kind in Europ: 100 video projectors, driven by 100 servers projecting images onto a surface area of more than 6,000 m². The ground is completely covered, too, and becomes a vast carpet of images. Each server delivers a programmed image to its video projector, and it is all synchronised by a production computer that holds this ultimate installation together.
- 3D audio adapted to the specifics of the site. Each speaker covers 45 degrees of wall and broadcasts a more homogenous sound wherever the spectator is.
- The installation of fibre optic cables has revolutionised the installation with smoother image transmission. Each video signal is converted into light using fibre optic technology, and these signals can therefore be carried up to 500 metres, in a higher resolution than Full HD.
- The installation of a complete automatic management system for multi-screen production, sound and lighting.
Total surface area of the Carrières: 5000 m²
Surface area for projection: 7000 m²
Height of projection: 6 to 14 metres
Show duration: 35 minutes
Technical equipment: 100 video projectors, 27 speakers...
Number of images screened by show: circa 3000
Between each show, the Carrières will be progressively lit up so that you can discover the intrinsic characteristics of the placeand to reveal its mineral beauty. The goal is to show the lines left by the quarry-workers cutting stone and to help the audience understand how they extracted huge cubes of rock.
This quiet moment before the show will allow you to see the quarry in its natural state.
The ridges on each of the three central pillars will be brought out using a cool white light from above. The walls of the room and corridors will be lit with more diffuse, warmer lighting. Finally, the parts of the quarry that are not accessible to visitors will be lit in order to give the impression that it stretches on into infinity.
Neutral colours have been chosen in order to preserve the natural mineral atmosphere of the site.
The progressive lighting uses the DMX system, generally used for controlling dynamic event lighting or stage performances. And the same automated system used for the show controls the lighting.
Impossible to come to this area without visiting this place.
I knew Elvira got around, but had no idea she was Santa's Boo .......
© Bob Kramer, Intrinsic Captures, 2022. 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 © 2022. 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.
For the first time, astronomers have used the NASA/ESA/CSA James Webb Space Telescope to take a direct image of an exoplanet. The exoplanet is a gas giant, meaning it has no rocky surface and could not be habitable. The image, as seen through four different light filters, shows how Webb’s powerful infrared gaze can easily capture worlds beyond our solar system, pointing the way to future observations that will reveal more information than ever before about exoplanets.
The exoplanet in Webb’s image, called HIP 65426 b, is about 6 to 8 times the mass of Jupiter. It is young as planets go — about 15 to 20 million years old, compared to our 4.5-billion-year-old Earth.
Astronomers discovered the planet in 2017 using the SPHERE instrument on the European Southern Observatory’s Very Large Telescope in Chile and took images of it using short infrared wavelengths of light. The Webb image, taken in mid-infrared light, reveals new details that ground-based telescopes would not be able to detect because of the intrinsic infrared glow of Earth’s atmosphere.
Researchers have been analyzing the data from these observations and are preparing a paper they will submit to journals for peer review. But Webb's first capture of an exoplanet already hints at future possibilities for studying distant worlds.
Since HIP 65426 b is about 100 times farther from its host star than Earth is from the Sun, it is sufficiently distant from the star that Webb can easily separate the planet from the star in the image.
Webb’s Near-Infrared Camera (NIRCam) and Mid-Infrared Instrument (MIRI) are both equipped with coronagraphs, which are sets of tiny masks that block out starlight, enabling Webb to take direct images of certain exoplanets like this one.
Taking direct images of exoplanets is challenging because stars are so much brighter than planets. The HIP 65426 b planet is more than 10,000 times fainter than its host star in the near-infrared, and a few thousand times fainter in the mid-infrared. While this is not the first direct image of an exoplanet taken from space – the NASA/ESA Hubble Space Telescope has captured direct exoplanet images previously – HIP 65426 b points the way forward for Webb’s exoplanet exploration.
In each filter image, the planet appears as a slightly differently shaped blob of light. That is because of the particulars of Webb’s optical system and how it translates light through the different optics. Purple shows the NIRCam instrument’s view at 3.00 micrometers, blue shows the NIRCam instrument’s view at 4.44 micrometers, yellow shows the MIRI instrument’s view at 11.4 micrometers, and red shows the MIRI instrument’s view at 15.5 micrometers. These images look different because of the ways that the different Webb instruments capture light. The small white star in each image marks the location of the host star HIP 65426, which has been subtracted using the coronagraphs and image processing. The bar shapes in the NIRCam images are artifacts of the telescope’s optics, not objects in the scene.
These observations were lead with a large international collaboration by Sasha Hinkley, associate professor of physics and astronomy at the University of Exeter in the United Kingdom.
Note: This image highlights Webb’s science in progress, which has not yet been through the peer-review process.
Credits: NASA/ESA/CSA, A Carter (UCSC), the ERS 1386 team, and A. Pagan (STScI)
Pincushion Coneflower
Proteaceae: Isopogon dubius
One of the beautiful Isopogon or Coneflowers that flower in August in WAust.
Australian plants online tells us:
"Isopogon
The name is from the Greek, 'isos' - meaning equal and 'pogon' - a beard. The genus was named by Robert Brown in 1810. and currently contains some thirty-five species, twenty-seven in south-west Western Australia, while eight occur in the eastern States.
Isopogons have a wide range of leaf forms, from simple to compound, terete or flattened, which are branching and often dense. Stiff and grey/green in attractive presentation, even when not in bloom, they are eminently suited to unforgiving climates, where they excel. The inflorescence can be terminal spikes or short heads. Flowers may vary from reddish pink to mauve/purple, yellow or cream, consisting of narrow tubes that split to reveal four equal sections of intrinsic beauty..."
wine bottle label
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
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.
Exposure like that is objectively dangerous, but I think it is a principal error to believe that danger should be avoided at all cost. Danger must be understood and respected. Danger is a condition, a price. Danger can be a price worth paying. It’s rare that one seeks danger for its own sake, it’s not rare that beautiful things are dangerous. And in the final analysis, life is intrinsically dangerous. Life is a process of reacting to danger. Or put another way, the security one often perceives when staying out of danger is mostly a grandiose illusion.
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.
Visit my website for other recent work
Scenic Byway 12 is a road like no other and a destination unto itself. This exceptional 124-mile route negotiates an isolated landscape of slick rock canyons, towering plateaus, and mountain valleys ranging from 4,000 to 9,000 feet above sea level.
You'll encounter archaeological, cultural, historical, natural, and recreational intrinsic qualities when driving this exhilarating scenic byway.
Don’t ask yourself why this title ! Impossible to find an explanation ! « Invisible mother » is both funny and macabre…
Urs Fischer is a contemporary Swiss artist born in 1973 in Zurich. Since 2004 he has lived and worked in New York.
He studied photography at the Zurich Schule für Gestaltung and subsequently in Rotterdam, a training which forged his “taste for images and their intrinsic value”1.
For the artist, images are admired for their associative power, their emotional charge and their skilful illusion, properties that likewise apply to his objects in three dimensions. Thinking resolutely as a sculptor, he alternates between photography, sculpture, painting and installation. He combines this raft of artistic options with editorial projects implemented with his publishing house Kiito-San.
The exhibition space also finds itself reshaped and is understood as a place of production invested with Fischer’s expressive formal investigations, which oscillate between the playful and the dramatic. Far from operating in isolation, the artist sometimes organizes participatory situations, in which visitors are invited to contribute to the fashioning of sculptures from blocks of clay. Fischer’s most recent collaborative outdoor project is also the largest to date: this summer the artist transformed the exterior spaces of Moscow’s Garage Museum of Contemporary Art into a giant clay-modelling studio.
As well as using natural, easily biodegradable materials such as clay, Urs Fischer also invokes innovative techniques that testify equally to his thirst for experimentation. A prolific artist, he has successfully captivated the international scene. He exhibits in many countries and his work is represented in leading public and private collections around the world.
Queenz
NEW Intrinsic Collection
10 Separate Colors
Sizes: Reborn, Waifu, Legacy, Lara X, Kupra, Muneca
Boots Sold Separately
Fatpack & Megapack Available
Available NOW!! @ @treschic_sl
A unique experiment at the U.S. Department of Energy's Fermi National Accelerator Laboratory called the Holometer has started collecting data that will answer some mind-bending questions about our universe – including whether we live in a hologram.
Much like characters on a television show would not know that their seemingly 3 - D world exists only on a 2 - D screen, we could be clueless that our 3 - D space is just an illusion. The information about everything in our universe could actually be encoded in tiny packets in two dimensions.
Get close enough to your TV screen and you'll see pixels, small points of data that make a seamless image if you stand back. Scientists think that the universe's information may be contained in the same way, and that the natural "pixel size" of space is roughly 10 trillion trillion times smaller than an atom, a distance that physicists refer to as the Planck scale.
"We want to find out whether spacetime is a quantum system just like matter is," said Craig Hogan, director of Fermilab's Center for Particle Astrophysics and the developer of the holographic noise theory. "If we see something, it will completely change ideas about space we've used for thousands of years."
Quantum theory suggests that it is impossible to know both the exact location and the exact speed of subatomic particles. If space comes in 2-D bits with limited information about the precise location of objects, then space itself would fall under the same theory of uncertainty . The same way that matter continues to jiggle (as quantum waves) even when cooled to absolute zero, this digitized space should have built-in vibrations even in its lowest energy state.
Do we live in a 2-D hologram? New Fermilab experiment will test the nature of the universe
The holometer as constructed at Fermilab includes two interferometers in evacuated 6-inch steel tubes about 40 meters long. Optical systems (not shown here) in each one “recycle” laser light to create a very steady, intense laser wave with about a kilowatt of laser power to maximize the precision of the measurement. The outputs of the two photodiodes are correlated to measure the holographic jitter of the spacetime the two machines share. The holometer will measure jitter as small as a few billionths of a billionth of a meter. Credit: Fermilab.
Essentially, the experiment probes the limits of the universe's ability to store information. If there are a set number of bits that tell you where something is, it eventually becomes impossible to find more specific information about the location – even in principle. The instrument testing these limits is Fermilab's Holometer, or holographic interferometer, the most sensitive device ever created to measure the quantum jitter of space itself.
Now operating at full power, the Holometer uses a pair of interferometers placed close to one another. Each one sends a one-kilowatt laser beam (the equivalent of 200,000 laser pointers) at a beam splitter and down two perpendicular 40-meter arms. The light is then reflected back to the beam splitter where the two beams recombine, creating fluctuations in brightness if there is motion. Researchers analyze these fluctuations in the returning light to see if the beam splitter is moving in a certain way – being carried along on a jitter of space itself.
"Holographic noise" is expected to be present at all frequencies, but the scientists' challenge is not to be fooled by other sources of vibrations. The Holometer is testing a frequency so high – millions of cycles per second – that motions of normal matter are not likely to cause problems. Rather, the dominant background noise is more often due to radio waves emitted by nearby electronics. The Holometer experiment is designed to identify and eliminate noise from such conventional sources.
"If we find a noise we can't get rid of, we might be detecting something fundamental about nature–a noise that is intrinsic to spacetime," said Fermilab physicist Aaron Chou, lead scientist and project manager for the Holometer. "It's an exciting moment for physics. A positive result will open a whole new avenue of questioning about how space works."
Provided by Fermi National Accelerator Laboratory
Guess I was thinking of Ansel Adams when I put this together. The tree is at the Beverly Hills Garden Park. My niece was there this weekend for an art exhibit. I liked the color version, but I think the black and white is much more powerful.
Best viewed at the largest size.
© Bob Kramer, Intrinsic Captures, 2011. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.
The Space Between Us
We live in a society where individuality is rewarded and selfishness is intrinsic in our daily behaviors. In my "Covid -19" isolation I found myself reflecting on our relationship with the public space and on how we relate in it. More specifically, I searched my archive and built this series not to document, but rather to represent what I think about it. So you can see people turning their backs while crossing the street or while sitting in a bar; people walking on two separate but converging paths; lonely people thinking about their things while others relate to other but above all people indifferent to everything that happens around. Can they really think of being self-sufficient?
This series that I have called "The space between us" will continue to grow and change and find its definitive face (or not ...) when I can return to the streets to photograph. But the research exercise in the personal archive is an absolutely legitimate way to discover relationships between images that we had previously overlooked.
Shot at Venice Beach California ....trying some new looks, variations of black and white.
Best viewed at the largest size.
© Bob Kramer, Intrinsic Captures, 2011. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.
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 Symbol Jewels Of Ion - Sacred Geometries - The Stygmat by Daniel Arrhakis (2023)
A new mystic series "The Symbol Jewels Of Ion - Sacred Geometries"
The Symbol Jewels Of Ion - Sacred Geometries (*)
Symbols and sacred geometries in the Mystical World of Ion whose meaning goes far beyond the visual representation or its dreamlike character.
They materialize a mystical power that unites human qualities with a conscious and omnipresent universal spirituality that reigns over destiny, matter and time.
The Stygmat
Stigmata (Ancient Greek: στίγματα, plural of στίγμα stigma, 'mark, spot, brand'), in Catholicism, are bodily wounds, scars and pain which appear in locations corresponding to the crucifixion wounds of Jesus Christ: the hands, wrists, and feet.
A mark of disgrace associated with a particular circumstance, quality, or person.
In the Mystic World Of Ion the symbolism of this geometry is a little different, the red blood is the intrinsic strength, the hereditary character, the courage to face adversity, the base of the calyx of a flower that extends vertically to its stigma, to the light, to the green of hope and redemption.
The chalice delimited by two juxtaposed hands that pray and face with faith, adversity, the stigmas of ignorance and misunderstanding.
In the center, the blue sky, faith renewed after the storm, the sweet home you return to at the end of the day, the temple that awaits and welcomes you, the water that quenches your thirst.
In the Mystical World of Ion, far from being a stigma, Stygmat geometry is the representation of strength, faith, courage and, above all, resistance in the face of adversity.
___________________________________________________
As Joias Simbólicas de Íon - Geometrias Sagradas
Símbolos e geometrias sagradas no Mundo Místico de Íon cujo significado vai muito além da representação visual ou de seu caráter onírico.
Eles materializam um poder místico que une as qualidades humanas com uma espiritualidade universal consciente e onipresente que reina sobre o destino, a matéria e o tempo.
Stigmat
Stigmata (do grego antigo: στίγματα, plural de στίγμα estigma, 'marca, mancha, marca'), no catolicismo, são feridas corporais, cicatrizes e dores que aparecem em locais correspondentes às feridas da crucificação de Jesus Cristo: as mãos, pulsos e pés.
Uma marca de desgraça associada a uma circunstância, qualidade ou pessoa em particular.
No Mundo Místico de Ion o simbolismo dessa geometria é um pouco diferente, o sangue vermelho é a força intrínseca, o caráter hereditário, a coragem para enfrentar as adversidades, a base do cálice de uma flor que se estende verticalmente até seu estigma, para a luz, para o verde da esperança e da redenção.
O cálice delimitado por duas mãos justapostas que rezam e enfrentam com fé as adversidades, os estigmas da ignorância e da incompreensão.
Ao centro, o céu azul, a fé renovada depois da tempestade, o doce lar a que regressas ao fim do dia, o templo que te espera e te acolhe, a água que mata a tua sede.
No Mundo Místico de Íon, longe de ser um estigma, a geometria Stygmat é a representação da força, da fé, da coragem e, acima de tudo, da resistência diante das adversidades.
(*) Text and images of the series "The Symbol Jewels Of Ion - Sacred Geometries" created by Daniel Arrhakis
The Space Between Us
We live in a society where individuality is rewarded and selfishness is intrinsic in our daily behaviors. In my "Covid -19" isolation I found myself reflecting on our relationship with the public space and on how we relate in it. More specifically, I searched my archive and built this series not to document, but rather to represent what I think about it. So you can see people turning their backs while crossing the street or while sitting in a bar; people walking on two separate but converging paths; lonely people thinking about their things while others relate to other but above all people indifferent to everything that happens around. Can they really think of being self-sufficient?
This series that I have called "The space between us" will continue to grow and change and find its definitive face (or not ...) when I can return to the streets to photograph. But the research exercise in the personal archive is an absolutely legitimate way to discover relationships between images that we had previously overlooked.
My thanks to Kaya Anderson for the photo of the children. Her website can be previewed here: www.flickr.com/photos/56716122@N06/ I added the dog and changed the background.
© 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.
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Housed within a thirty-foot diameter dome, Making Waves consists of one hundred equilateral prisms mounted on opposite ends of fifty aluminum rods, connected by a central torsion cable and supported on a sixteen foot long base which reflects the prisms in its form. Drawing direct inspiration from a device known as a Shive wave machine, developed originally by physicist John N. Shive for Bell Laboratories, Making Waves allows visitors to interact at various positions along the piece by pushing down or pulling up on any of the rods or prisms. Resultant waveforms will then transpire along the length of the piece, their intensity, speed, and direction directly correlating to the nature of each visitor’s interaction.
A series of colourful reflections and refractions dance across the inner surface of the dome as the prisms, set into physical waveforms by the actions of visitors, interact with the varying frequencies of colour-shifting lights, positioned at both ends and directed along the length of the piece. This dynamic interplay of light and motion is directly and intrinsically linked to the participation of those who experience Making Waves.
The act of intentionally generating a wave is a direct act of engaged disruption, following this year’s theme. The imagery of a generated wave that directly correlates to the actions of visitors serves as a metaphor for the impact potential of various forms of disruptive engagement (e.g. sociocultural, technological, economical, artistic, etc.).
Mixed Metaphors:
Mixed Metaphors formed in 2014 as an Ottawa based creative partnership between interdisciplinary artists Jesse Stewart and Matthew Edwards. Focusing on sound sculpture, sound art, interactive audio-visual installation and performance, Mixed Metaphors is deeply committed to creating aesthetically compelling, multi-sensory public art installations that encourage curiosity and wonder among those who experience its works.
Jesse Stewart is an award-winning composer, improviser, percussionist, artist, instrument builder, researcher, writer, educator and community activist dedicated to reimagining the spaces between artistic disciplines.
Matthew Edwards is an architectural designer, musician, educator, and artist with a broad and diverse skillset, and a particular interest in the sonic experience of space.
Collectively, the duo possesses a portfolio of over twenty commissioned projects in the visual and sonic arts.
The M4 Sherman (named after the famous American Civil War general William T. Sherman) is one of the few really iconic fighting vehicles of the Allies during World War Two, and one of the most famous tanks in history. But while this historic status was gained partly thanks to its intrinsic qualities, but also due to the sheer numbers in which they were provided, only surpassed by the Soviet Union’s T-34, with a staggering 50,000 total delivered. It remains by far the most widely used tank on the Allied side during the war.
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Few things are quite as delicious as the colors that appear during late dusk. I didn't notice there was a church in my composition until I post-processed the photo. Kinda made it even more interesting!
Why do people often use the tag #nofilter as if it was an intrinsic good? The value of your creative method depends entirely on what you're trying to communicate. The method best suited to achieve your goals should also be the most valued. (Link.)
Wishing all a Very Merry Christmas and a Happy New Year.
© Bob Kramer, Intrinsic Captures, 2022. 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 © 2022. 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.
Cazimi is definitely stepped up their game for the skin fair ladies sooo be watching out for them. They are bringing Eyeshadow - Intrinsic and I have to say....I love it. 5 neutral eyeshadows coming at you and they look perfect on my eyes...blink blink blink. Ladies make sure while you're walking around the skin fair, you stop by the Cazimi store and check out the Eyeshadow - Intrinsic!!!!!!!!!!!!!!!! Happy shopping ladies! ☺
Info
• Items with (♥) is what's being featured
• Cazimi Eyeshadow - Intrinsic can be purchased @ Skin Fair 2018 - Sim 1 & Sim 2
• Blogspot
Body/Face/Nails/Jewelry
• Catwa • Catya Bento Face
• Maitreya • Bento Hands, Feet, and Body
• Empire • Square Nails • Long
• Slipper • Morning Josie Bento Rings
Skin
• DeeTalez • Heidi • Applier (Catwa) • Mixedtype
Hair
• Tram • G0106 • Hud - C
♥ Cazimi ♥
• Eyeshadow - Intrinsic • Applier (Omega, Catwa, Lelutka) • Newness
Clothing
• Addams • Jan Tank Top & Simona Shirt • Mesh (Freya, Isis, Venus, Maitreya, HG Phy, TMP)
I wanted to make our last day at the Outer Banks last week somewhat epic for the ladies in tow. So, I threw in the gardens at the Fort Raleigh National Historic Site in Manteo on Roanoke Island along the way home as an option. A big yes for that! Shirley, a Duke freshman from Kenya along for the week, found it quite captivating. Manteo is where the eastern end of U.S. Route 64 begins… a sign there stated Murphy—where the western terminus of U.S. Route 64 is in the mountains—is a mere 563 miles away. North Carolina is a long state. Our drive back to Durham would cover a little over a third of that. Here at the onset of 64 in the east is a jewel of wonder to be found in North Carolina, a crown jewel to be exact, the Elizabethan Gardens.
There are many aspects to the gardens, but the camelia japonica, many the size of trees, in full bloom and all quite showy, dominated interest. I asked a woman from northern Pennsylvania—of whom I’d taken note of a constant expression of astonishment—if anything had caught her fancy. She was fascinated with the camelias, as they don’t do well in her neck o’ the woods. Out of all the others, my eye was most drawn to this flower, somewhat concealed within one of those “trees”. The light falling on it was perfect, glowing with a bit of blush, standing out against its surroundings. Have you ever thought about that blush pink? It doesn’t exist in the visible spectrum. Pink is not out there, because no color is really "out there." The world is full of electromagnetic radiation, and the only intrinsic properties that this radiation possesses are physical ones such as wavelength and intensity. Color, on the other hand, is all in your head. My head tells me that’s pink.
Many camelias have flowers that are concentric… this one is not of that variety. In fact, there are petals slicing right through the stamen. It’s imperfect, quite like me… or is it? Regardless, there’s beauty in that imperfection. Today is Palm Sunday, which if nothing else, points out our imperfections, our ideals, our standards, our notions… our need for a Savior. I thank God for that.
I don't know anything about flowers, but I liked the look of this. Shot this in Cambria, California. Best viewed at the largest size.
© Bob Kramer, Intrinsic Captures, 2013. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.
Saint Malo and the Brittany Coastline....
I was intrigued by the length of the coastline; the displacement of buildings with a defensive line of wood and an attractive, continental beach all added to the interest and appeal. This is not the France I know, Parisian and cosmopolitan, cultural, technological and architectural. Nor was it industrial like Orleans or quintessentially French and marvelously historical like Versaille. This was intrinsically, continental European (a la Southern Spain, the South of France, perhaps, yet cool temperate, near-deserted with a tranquility that invited peacefulness and reflection, Oddly British, yet absolutely not! Wonderfully historical yet as relaxed as the English Channel, gently lapping Bretagne's pristine shore.
:-)
Simon
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Egypt - Luxor - الأقصر - al-Uqṣur - Ancient Thebes - طيبة - UNESCO World Cultural Heritage site on banks of river Nile - Temple of Madinat Habu - Medinet Habu - Mortuary Temple of Ramesses III
The Temple of Medinat Habu is one of the largest memorial Temples in Egypt. It measures 320m in length (east to west) and about 200m in width (north to south). It was built to commemorate Ramses III, after his death, by orders of the King himself. A huge mud brick enclosure wall surrounds the Temple. Medinet Habu is the name commonly given to the Mortuary Temple of Ramesses III, an important New Kingdom period structure in the location of the same name on the West Bank of Luxor in Egypt. Aside from its intrinsic size and architectural and artistic importance, the temple is probably best known as the source of inscribed reliefs depicting the advent and defeat of the Sea Peoples during the reign of Ramesses III.
The main temple is the great memorial temple of Ramesses III, the best preserved of all mortuary temples of Thebes. It is called the Mansion of Millions of Years of User-Maat-Re Meriamun, the throne name of Ramesses III, "United with Eternity in the Possession of Amun in Western Thebes." It contains more than 75,350 sq ft of decorated surfaces across its walls. Although this was my third visit to Luxor through the years, I have somehow missed this temple before. Greater the surprise to find such an impressive site.
Those of you that think that such a timeless photo opportunity will occur on each step in a place like a Valley of Kings in Egypt ( I thought so) might be surprised as Egypt is a land of "baksheesh" and money is asked for everything. When I took photos of bakery in Oman or Yemen I left the shop with piece of free warm bread in my hand, when I tried to do same in Luxor, I was very shortly asked for "baksheesh" in very ordinary old bakery in the city. When I surprisingly just said "shokran" - thank you, I was not allowed to take more photos. The same story goes with this shot and many more. On a second thought, I should have asked for "baksheesh" too when those Egyptian guys have been taking photos with me to show off that they have new blond, European girlfriend.
Camera Model: Canon EOS 5D Mark II; Lens: 28-300mm; Focal length: 300.00 mm; Aperture: 6.3; Exposure time: 1/200 s; ISO: 200
All rights reserved - Copyright © Lucie Debelkova - www.luciedebelkova.com
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
THE CAUSEWALL-PASSAGEWAY-EAST FINCHLEY-LONDON-ART-PAINTINGS-WATERCOLORS-ARTIST-PAINTER-ERNEST DESCALS-
When I travel, all my senses are on high alert. I'm interested in capturing the atmospheres my senses perceive. Every place is a magnificent encounter with new sensory realities that connect with my eager inner self, thirsty for new experiences where I can feel the calls from other dimensions. Here, I've painted the narrow and mysterious passageway that connects to the East Finchley Tube station, a path between railings and trees that shortens the way to the Underground. It's a very narrow alley with few people; there's a certain sense of danger when you walk through it. I decided to paint it to capture all these sensations. I think it's called THE CAUSEWALL, and it's an intrinsic part of the neighborhood's aesthetic character. A sensitive watercolor painting on 45 x 60 cm paper. East Finchley is full of these kinds of passageways that serve to shorten distances. Works by the artist Ernest Descals depicting the mysterious landscapes of London.
Cuando viajo tengo todos los sentidos en alerta máxima, me interesa captar las atmósferas que mis sentidos perciben, todos los lugares son un magnífico encuentro con nuevas realidades sensoriales que conectan con mi ávido interior sediento de nuevas experiencias en las que sentir las llamadas provenientes de otras dimensiones, aquí he pintado el estrecho y misterioso pasadizo que conecta con la estación del Tube de East Finchley, un sendero entre rejados y árboles que acortan el camino para subir al Metro, un callejón muy angosto con pocas personas, hay cierta sensación de peligro cuando caminas por aquí, he decidido pintarlo para atrapar todas estas sensaciones. Creo que se llama THE CAUSEWALL, y forma parte intrínseca de la personalidad estética del barrio. Pintura sensitiva con acuerelas sobre papel de 45 x 60 centímetros, East Fincley está repleto de este tipo de pasadizos que sirven para acortar distancias Obras del artista pintor Ernest Descals sobre los paisajes misteriosos de la ciudad de London.
"An unfamiliar term for something that could not be more familiar to each of us: the ways things seem to us. The 'what it is like' character of mental states. The way it feels to have mental states such as pain, seeing red, smelling a rose, etc. That which is ineffable, intrinsic, private, and directly or immediately apprehensive in consciousness."
week 5 of pseudo silence with Delilah Jones!!!
pseudosilenced.tumblr.com/
view more of Delilah's work at: mymindisanisland.tumblr.com