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Inventi quella luce
ma sono gli occhi miei
mentre ti guardo io non so più
dove finisco io e cominci tu
il sogno... la realtà
Gennaro Iannotti
Autumn-winter is one of the new seasons I've invented to fill a gap in the market, as I don't think the four seasons we have are quite enough to define seasonal change. No, I haven't had a drink; it's only 13.00. (Though in tribute to the amazing Jimmy Buffett [who we are still mourning in our house], it is five o'clock somewhere, so I easily could justify it.)
(Oh dear; i think the virus I've had over the last couple of days might have just tipped me over the insanity boundary...)
Not quite SOOC; some minimal minor editing in DPP4, mainly to tweak the blacks and the whites. The colours were mostly created in-camera. I decided I was going to work out what on earth happens when you really mess with the white balance adjustments in the camera. And I found that some interesting things happen.
Inventado en 1850 por el científico francés Jean-Bernard-Léon Foucault fué la primera demostración física de la rotación de la Tierra, su continuo y sereno funcionamiento permite observar el principio de la inercia, descubierto por Newton y según el cual, aunque parezca que es el péndulo el que cambia de trayectoria, lo que se mueve en realidad es el suelo que tiene debajo, un efecto provocado por la fuerza de Coriolis, provocada por el movimiento de rotación de nuestro planeta … todo un icono de la ciencia cuyo simple objetivo es observar la velocidad angular y los efectos de rotación de la tierra ...
El péndulo aquí instalado tiene una longitud de 13 metros, con un período de oscilación de 7 segundos.
Está ubicado el la latitud 39º 48' 50'' S , longitud 73º 14' 15'' W.
La base del péndulo está a 4,5 metros sobre el nivel del rio Valdivia.
El cable es de acero trenzado y la esfera cromada tiene una masa de 110 kilos.
El péndulo posee un sistema de recuperación que devuelve la energía que se pierde por roce con el aire, cuyo mecanismo es compuesto por 4 sensores ópticos de movimiento, un circuito electrónico de control, un electroimán (bobina) y un imán... de no existir éste sistema el péndulo dejaría de oscilar al cabo de algunas horas.
En la base se observa una rosa de los vientos con los puntos cardinales y una graduación que permite medir desplazamiento del plano de oscilación.
...Inventos con mi amigo, Javi Benedito, poniendo en práctica métodos de fotografía empleados por un gran maestro del la fotografía, Pedro Javier Pascual pedrojavierpascual.es evidentemente, a años luz de él...
Pulsar L para verla mejor
Más fotos en
Back in the day when America hadn’t been invented , Jerusalem was the centre of the World and South was at the top of the map , a monk called Fra Mauro created this masterpiece in his monastery off the island of Murano in Venice.
That was about 1450 and the knowledge put into the map was state of the art. The outline looks a little strange to modern eyes until you turn it upside down when the Iberian and Italian peninsulas suddenly look real. As for England well the southern part looks a familiar shape but that there Yorkshire doesn’t appear and is shown as part of Scotland.
It is now preserved in the Library Marciano on St Marks Square in Venice where it has it’s own room, special lighting and alarmed case. Some describe it as the Mona Lisa of the map world.
Le 3 janvier 1613, Catherine de Gonsague et de Clèves, veuve du prince d'Orléans, duc de Longueville, signait le contrat de maçonnerie pour la reconstruction du château de Coulommiers suivant les dessins de Salomon de Brosse. Celui-ci se recommandait par les travaux qu'il exécutait au château Monceaux pour Marie de Médicis, Italienne comme Catherine de Gonzague. A Coulommiers la construction sera suivie par Charles Du Ry, collaborateur habituel de Salomon de Brosse, qui a quelque peu modifié les dessins en cours d’exécution. Charles Du Ry , sera lui-même assisté par son fils Mathurin. Le château n'était pas achevé à la mort de Cathérine 51629° et de son architecte (1626). La relève est prise par Henri II de Longueville, fils de Catherine et par François Mansart, désigné comme l'architecte dans un nouveau contrat de maçonnerie deu 27 mai 1631, toujours signé par Du RY. On travaillait encore sur le chantier en 1655. Implanté dans un site peu salubre. le château en piètre étant a été démoli en 1736 - 1738. Il en reste : les fossés; les deux pavillonnets de l'entrée, qui sont l’œuvre de Mansart; les portiques concaves qui adoucissaient les angles du fond de la cour et qui paraissent bien avoir été inventés par Salomon de Brosse. Ces portiques sont reproduits dans plusieurs œuvres de Mansart ( Berny, Blois).
Jeu original des 176 emoji dessinés par Shigetaka Kurita
Exposition MOMA - Fondation Louis Vuitton
La collection du Museum of Modern Art (MoMA), à New York, s'est enrichi en 2016 de 176 pièces quelque peu particulières : une collection de carrés de douze pixels de côté. Il s’agit de la première série d’émoticônes (emoji en japonais), créés par le designer Shigetaka Kurita, qui les a conçus entre 1998 et 1999.
A l’époque, M. Kurita travaille pour l’opérateur de téléphonie japonais NTT Docomo, qui développe i-mode, un service Web pour téléphones. Le service ne peut transmettre que de faibles quantités de données, et les écrans des téléphones ne permettent de toute façon l’affichage que d’un faible nombre de caractères. M. Kurita propose alors de créer des images schématisées de petite taille : ce seront les 176 émoticônes originelles.
Le succès est immédiat, et les autres opérateurs japonais copient très rapidement le concept. En dehors de l’archipel, il faudra cependant attendre 2010, et l’arrivée des émoticônes dans le standard Unicode, pour qu’ils connaissent un succès véritablement planétaire.
« Les emoji de Shigetaka Kurita sont de puissantes manifestations de la capacité du design à modeler le comportement humain, explique le musée. Le design d’une chaise dicte notre posture ; de même, le format d’une communication électronique donne une forme particulière à notre voix. Les collections du MoMA sont remplies d’exemples d’innovations en matière de design qui ont radicalement modifié notre monde, du téléphone à l’ordinateur personnel en passant par le signe@. »
Article Le Monde - 27/10/2016
stuff that im the first to do if u think ure first for one of these things send me an fm we can compere dates to see whos first
and........ im not dead :P
Inventé par l'ingénieur Dean Kamen en 2001 et développé par la firme américaine Segway Inc, le gyropode Segway est le nouveau mode de transport motorisé le plus écologique et le plus économique par personne et par kilomètre. Aujourd'hui leader mondial du transport léger électrique de proximité avec plus de 80 000 gyropodes en circulation dans plus de 60 pays.
Bon week-end les artistes !
Mesquite Sand Dunes :
elles offrent un paysage digne du Sahara (la planète Tatooine dans la saga Star Wars). La plus grande des dunes s’appelle d’ailleurs la Star Dune, ça ne s’invente pas !
Entouré de montagnes, les monticules de sable lisses contrastent avec les montagnes pourpres déchiquetées au loin. Bien que la plus haute dune ne s'élève qu'à environ 100 pieds, les dunes couvrent en réalité une vaste superficie. Ce champ de dunes comprend trois types de dunes: croissant, linéaire et en forme d'étoile. Elles se trouvent au sommet d'un ancien lit de lac connu sous le nom de lac Mesquite. Les dunes ont été créées par des vents soufflant dans de petites particules de matériaux qui comprenaient du quartz, provenant probablement du Marble Canyon et de la vallée de la Panamint
Les dunes de Stovepipe Wells ont la particularité d’émettre un son provoqué par le vent qui circule entre les grains de sable. Ce son est poétiquement appelé le chant des dunes !
Mesquite Sand Dunes:
they offer a landscape worthy of the Sahara (the planet Tatooine in the saga Star Wars). The largest of the dunes is also called the Star Dune, it does not invent!
Surrounded by mountains, the mounds of smooth sand contrast with the crumbling purple mountains in the distance. Although the highest dune is only about 100 feet high, the dunes actually cover a large area. This dune field includes three types of dunes: crescent, linear and star-shaped. They are on top of an old lake bed known as Mesquite Lake. The dunes were created by winds blowing into small particles of materials that included quartz, probably from Marble Canyon and the Panamint Valley.
The dunes of Stovepipe Wells have the peculiarity to emit a sound caused by the wind which circulates between the grains of sand. This sound is poetically called the song of the dunes!
The Inventing room of the renowned, if somewhat mysterious, Professor Bardarbarus Thetch
The Professor was greatly inspired by this:
" Born free " are looks better when they are " free ". In cage they lose their beauty .
| Faran Hassan Fine Art Photography |
"Il vostro tempo è limitato. Non fatevi intrappolare dai dogmi – che significano vivere con regole inventate da qualcun altro. Non lasciate che il rumore delle opinioni altrui copra la vostra voce interiore. E più importante di tutto, abbiate il coraggio di seguire il vostro cuore e il vostro intuito. Loro sanno già che cosa volete diventare. Tutto il resto è secondario." Steve Jobs
Well of Shiuan - book 2 of the Morgaine cycle - C.J. Cherryh [fantasy novel - November 12, 2015 - 0656]
The Morgaine book series by C.J. Cherryh consist of four novels. The second book "Well of Ivrel"(1976) is commented upon in this report.
The following is my synopsis of the back-story for these four novels:
The ancient Qhal Empire expanded and dominated civilizations throughout the Galaxy. The Qhal are human in appearance and can breed, if desired, with other humanoid beings. The teleportation Gates technology the Qhal reversed engineered and utilized for interstellar travel were discovered in ruins on a dead world. The Qhal did not invent the Gates. Using the Gates the ruthless Qhal who despised other "native" beings imposed their wills without remorse. In the end the downfall of the Qhal was in the nature of the Gates. The Gates in addition to providing instantaneous travel between star systems could also be used to travel forward in time. It is speculated from analysis of ancient Qhal artifacts on many worlds that travel back in time unraveled the Qhal civilization. Qujalin are human offspring that have bred with Qhal beings. Morgaine is a Qujalin who has undertaken a quest to go from world to world destroying the master Gates since there influence corrupts societies, nature and individuals. It should be noted that all worlds contain many Gates but only one Master Gate. Shutting down the Master renders them all just dead stone monuments.
I have not been able to definitely determine the motivation that propels Morgaine to go from world to world closing the Gates. Certainly the Gates are inherently evil but I was she given a mandate by some council or organization or is she self - motivated, the latter appears to be the case as best I can determine. Her journeys are difficult and dangerous yet her persistence and dedication never waivers. There is enormous opposition to her task since those in power lose all when the Gates is sealed. Fortunately she is in possession of an incredibly magical sword - Changling by name - that is partnered with the mystical evil of the Gates and provides her a weapon that can irrevocably draws individuals to oblivion. How she aquired this incredibly powerful weapon is unknown. Use of the sword takes a psychic toll on her. All the books take place in medieval type world. The technologies evident are body armor and cross bows; horses are the only means of transportation. These pre industrial revolution locals makes for interesting stories but I question if the Qhal who were interstellar travelers what happened to their technology?
Vanye the bastard son of Nhi Rijan killed his half-brother Nhi Kandrys and cut off several fingers of his other half-brother Nhi Erij in a fight he was goaded into by the half-brothers. His father was incensed with grief and anger and cursed his son and pronounced him an "ilin" an outcast. Vanye was "claimed" by the Qujalin Morgaine to assist her in defeating a clan leader who aspires for the forbidden knowledge of the Gates. At the story unfolds her becomes her assistant is riding worlds of Master Gates.
Well of Shiuan - book 2 of the Morgaine cycle:
The setting for this book is alien planet that had in the distant past been an outpost of the Qhal. The planet has earth-like conditions and is populated with men and descendants of the Qhal who have breed with the humans. The planet's moon had experienced a cataclysmic event that results in a steadily rising sea level and a forbidding sense of dread among the inhabitants. The society is pre-industrial and feudal ruled by clans who maintain uneasy alliances and truces with adjoining clans. Warriors are respected for their skills with bows and swords and their horsemanship. Anything to do with the Qhal - the Gates or beings with Qhal blood - Qujalin - is an object of justified superstitious dread. Nonetheless some individual's lust for the powers Qhal items can provide. Morgaine and her sworn assistant Vanyn appear intent on closing the Master Gate. Degenerate Qhal, a being masquerading as Vanye's cousin and angry locals conspire to thwart their plan.
This book screams for a glossary of terms - alas there isn't one. The author with a masters of arts in mythology fills her books with cryptic terms for places and locations that, frankly, were unfamiliar to this reader. Alas I had to slow down take a few notes and use some page index tabs to refer back too and I was ok and good to go. It was worth the effort - this is a many-layered story with several very strong personalities competing for the reader attention. The climax of this story, a stand-alone book as published, begs for sequel. Fortunately for us there was one.
I have read several of Ms. Cherryh's books and to be honest they are an acquired taste and put demands on the reader not accustomed to her writing style and narrative pacing. In this book the narrative pacing proceeded glacially. Nonetheless I enjoyed this book and will eventually read the two remaining sequels.
Mural by Shepard Fairey aka @obeygiant seen on the wall of the Edison Senior High School at 6161 NW Fifth Court in Fort Lauderdale, Florida.
Drone photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
Invented by Caius Ingenius, the Steam Chariot was able to drive a great distance at the incredible speed of 18 km per hour.
"On aimerait tant pouvoir inventer le dragon qui fera de nous un Prince Charmant."
For strobist :
1x SB-600, 1/16, camera left, model front
1x SB-600, 1/1, camera right, behind model
This appears to be a vintage press photo of an older photo. This young lady comes with quite the story, as you'll read below.
That is what I imagine to be a nude body suit used for artist-modeling which allowed them to be clothed, but naked in a time when public nudity was a major crime?
Written on back:
#44387
Irene Kelynack
"The Venus of the 20th Century"
Artist's Model
Hesser
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Dorothea Irene Kelznack/Kelynack was born on January 27, 1895, in New York City, New York to RICHARD & Mary Kelynack. She married Ernest J. Turley on December 21, 1917, in Boston, Massachusetts. She died in 1973 in New York at the age of 78.
===================================================
From a 2016 Article by Lynn Peril:
On March 15, 1916, New York’s Evening World newspaper declared 21-year-old Dorothea Irene Kelynack “an exact flesh-and-blood replica of the marble Venus of the Louvre.” This was newspaper hyperbole, of course; to begin with, the Venus de Milo is six feet eight inches tall. Nevertheless, for a short period of time just before America entered the First World War, newspapers declared one or another young woman “a modern Venus” based on her measurements’ adherence to a scaled-down version of the statue. There was a Swarthmore Venus and one from Wellesley (the women’s colleges had such data at the ready as incoming freshmen were routinely measured nude in a relentless hunt for scoliosis; men’s colleges did the same, but no competition to discover a “modern David” followed). Now, Venus had emerged from New York City.
According to the paper’s “Venus Chart,” Kelynack was a smidge under five feet four inches tall, weighed 125 pounds, and measured as follows: neck, 12.5 inches; chest, 34.2 (two inches larger when inflated); waist 25.9. Her ankle measured a dainty 8.2 inches. The female reporter cooed about the “springing, supple lines” and “arresting charm” of Dorothea’s “perfectly modeled, perfectly managed body.”
The new Venus conceded she wore a corset, albeit a “very loose” one. Otherwise, she was a bit of a rebel. “I drink a little wine with my dinner when I feel like it, and I eat candy,” she said, though she practiced “temperance” when it came to both (this may have been a jibe at prohibition bluenoses to whom temperance meant full abstinence where alcohol was concerned). She believed that a career kept a woman “mentally alert” and helped to “preserve her beauty longer than the mere idler.” Dorothea herself had trained at the London Academy of Music, and aspired to appear on the stage or in the movies.
She had been a tomboy, who loved to climb trees and ride horses. “I believe that the tomboy has a better chance of becoming a Venus than the affected, artificial, repressed child whose one duty in life is to be ‘be a little lady,’” she concluded, in the type of statement for which the word “foreshadowing” was invented.
One might have expected Dorothea to make a match equal to that of her non-Venusian sister, who married a wealthy linen dealer after a shipboard romance. Instead, Dorothea eloped with Ernest Turley, a Navy man, in early 1918. The papers later called him “a handsome, two-fisted, go-getting sort of fellow” who “put up a whirlwind wooing that made paunchy millionaires, in Dorothea’s eyes, seem just funny,” but he was without question a bit player in the drama that followed. A daughter, Mattie, was born in December, and a son the following year.
The family moved to California, then, in July 1933, to Arizona, hoping the climate would aid Dorothea’s asthmatic lungs. News photos showed a rustic shack in which Ma and Pa Kettle would have felt right at home. It was easy to imagine a skunk taking up residence under the house. Mattie said she was aiming at one on November 18, 1933, when she tripped and unloaded both barrels of her shotgun into her father’s back. He was wounded, but alive. Mattie was a month shy of her fifteenth birthday.
But when the sheriff asked why, if the gun discharged as she fell, the shot’s path through her father’s body angled up and not down, Mattie let loose with a bombshell. She shot Ernest Turley on purpose — because the Ouija board she and her mother consulted said that her father must die in order for Dorothea to marry a handsome cowboy. “Mother told me the Ouija board could not be denied,” Mattie later told a jury, “and that I would not even be arrested for doing it.” Despite her professed belief in the Ouija’s infallibility, Dorothea nevertheless sought a second opinion. She reached for a deck of cards and drew one. “The ace of spades,” Mattie testified, “meant death for Daddy.” She lost her nerve when she first took aim, then thought about “how much it would mean” to her mother and fired.
Mattie pleaded guilty to a charge of attempted murder. Law enforcement wisely looked to the other set of hands on the planchette during that fateful session with the Ouija board and jailed Dorothea as an accomplice.
Ernest Turley died six weeks after the shooting. Dorothea was charged with murder, and the newspapers went berserk. Mattie was now the “beautiful 15-year-old shotgun slayer of her father.” Still “pretty” at 38, Dorothea had been chosen the American Venus over 3,000 or 50,000 other beauty contest entrants (in 1916 she told a New Jersey paper that her resemblance to the statue had been “discovered by accident” when “a relative noticed in the papers something about a would-be Venus at one of the colleges, and asked her to have herself measured”). Pictures of mother and daughter ran side by side for comparison.
Details were lurid. The handsome cowboy was tracked down, a 22-year-old named Kent Pearce. Like Dorothea before him, he dreamed of a movie career. Mattie testified that her mother and Pearce frequently drove out of town for late-night petting parties, with 14-year-old Mattie and a friend of Pearce’s in the backseat. Once the foursome stayed out until morning. “I have a hell of a good time on the Mesa,” Dorothea told a neighbor.
Dorothea maintained that the shooting was accidental. Yes, she owned a Ouija board, but she never asked it “Shall we kill father?” as her daughter testified. Mattie was angry with her and her father because they “didn’t want her to use rouge or to run about at night with cowpunchers or to cross her legs the way she did or to wear such short dresses.” She tried to pin the blame on her mother, Dorothea said, “because some of the cowboys didn’t like me.”
Through it all, Mattie stuck to the Ouija story. She also expressed deep remorse. “They thought I wouldn’t take the rap,” she said. “But I killed Daddy and I want to pay for it. That’s the only way I can show the world and him how sorry I am.” When she was taken away to begin serving her sentence at the grim-sounding State School for Girls, Dorothea told her, in what Mattie called and cold and sarcastic tone: “I thank you for your cooperation. Be a good girl.”
Dorothea was sentenced to 15 to 25 years for masterminding her husband’s murder, but had served less than three when she was granted a new trial and the charges against her were dropped. She went straight to the convent where Mattie remained in custody following the closure of the reform school. A “happy and contented” Mattie at first refused to meet with her mother, then relented long enough to tell Dorothea she never wanted to see her again. She was paroled shortly thereafter, and disappeared into what one can only hope was a satisfying adult life.
Dorothea told reporters that the day would come when Mattie would “realize the terrible wrong” she had done her to her mother. In the meantime, she unsuccessfully sued the former superintendent of the State School for Girls for “poisoning” her daughter’s mind against her.
© All Rights Reserved
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This is a scanned image from a batch of wire photos, publicity photos, vintage snapshots, cabinet cards, CDVs and real photo postcards purchased at auction. You are welcome to pin, re-post, embed and share this image, but please do not reproduce for your personal gain or profit without my permission.
I did some small, cosmetic clean-up retouches in photoshop.
Any comments or observations are much appreciated!
Today is world photo day and the 177th year since photography was invented! I decided to upload this photo today, because as I'm sitting here editing and listening to Icelandic music (their language is so relaxing to listen to), I was remembering what I was thinking while I took this image. This was our last stop of a very long day and although it was extremely windy and I was fighting to keep my eyes open, I raced out of the van to get more photos. Laying in the grass, I wondered how to show space, scale, and location. Throughout my whole trip, I was thinking about Ansel Adams and how landscapes were his specialty. Since this was my first time focusing on landscapes, I tried to think like him. I like how this image utilizes the foreground, midground, and background all together.
I can't imaging what life would be like without the ability to take pictures.
Ask around what are the two most iconic symbols of Gothic architecture and art, and the answer will likely be: stained glass windows and rib vaulting.
In both cases, that answer will be wrong: those wonders, on which Gothic cathedrals built their worldwide reputation, are... Romanesque! And they were not just invented and barely tested at the time of Romanesque, they were actually implemented again and again, and perfected along the way over at least one century before Gothic happened. Much more than the definitive breaking point it is often purported to be, the advent of the Gothic was much more a smooth and slow transition, largely calling upon concepts, methods and techniques created and improved during Romanesque times.
As regards stained glass, the oldest still in place is the Ascension Window in the Le Mans Cathedral, which could be as old as Year 1100, possibly 1120–40. The windows in the Augsburg Cathedral in Germany also have a strong claim to the title of oldest Romanesque stained glass window. I hope to be able to photograph all of them some day.
Now, and coming back to our main subject, the rib vaulting (in French: voûte sur croisée d’ogives, or more simply voûte d’ogives), experts agree that, even before the cathedral of Durham in England, it was first experimented in the abbey church of Lessay in Normandy, which stands in the Cotentin peninsula, today the département of Manche. This new, revolutionary vaulting system could be as old as 1090, at least for the apse, choir and transept. Let us remember that this was also the time when other Benedictine monks, in Burgundy, were experimenting the “broken”, or “pointy” Romanesque arch in the Cluny II abbey church, on which construction began in 1088.
The beginning of the nave is also very old, as will be explained below. Its western part may have been built a few decades later, around 1130–40 —but even so, at that time we are still fully within the Romanesque Age, which did not come to an end until 1200 at the earliest —and of course such a clean cutoff date is only symbolic and does not correspond to any actual reality.
The abbey church of Lessay was miraculously saved in the 1950s by Yves-Marie Froidevaux, Chief Architect of Historic Landmarks, after it was severely damaged by the mines detonated by the Nazi army before it retreated after the D-Day landing of June 1944. The restoration Froidevaux carried out, re-using most of the old stones wherever it was possible, today remains an example of a successful and respectful restoration.
Dedicated to the Holy Trinity, this church may look less impressive from the outside than the one in Cerisy, of which I uploaded photos a few days ago. Its apparel is mostly of local shale stones. The cut stones are limestone from Yvetot-Bocage near Valognes, a stone of a lesser quality compared to the famous pierre de Caen, which is also used here, but quite sparsely. Prima facie, this vast church offers more similarities with the humble parochial ones to be found locally in the Cotentin, than with “the great monastic architecture”, as Lucien Musset calls it in the Normandie romane book published by Zodiaque.
As you step inside, however, the architectural and religious message resonates with all its majesty and might. Contrary to Cerisy, this nave retains all of its rows; its perfect proportions are ample, elegant and powerful. They fascinate the first-time visitor.
In the oldest rows of the nave, toward the transept, the ribs fall on “nothing”, for lack of a base or an engaged column to receive them. Such an approximation denotes an incomplete concept, enthusiastically adopted but not yet fully developed.
However remarkable and iconic it may be, owing to the very first use of rib vaulting in human history, the abbey church of Lessay fails to satisfy the lovers of Romanesque sculpture, which is almost absent. This does not come as a surprise in a Norman Romanesque church. Some capitals are sculpted, but they are often the most distant, way up high at triforium level, and the other are only prepared for sculpting, rarely decorated with hooks or gadroons.
The modern stained glass windows were put in place after the ravages of World War II. Somehow their symbolic, leafy motifs, or the more abstract ones as shown here, based on entrelacs, manage to capture, in my opinion, the essence of the Romanesque. They let the “light of the Romanesque” flow in...