View allAll Photos Tagged Misunderstanding,
It may sound like the kind of bogus claim made on late-night infomercials, but trust me when I say it's true: Mr. Brown Pelican's violations of the rules of decency are so goofy they beggar belief. But first, I'm going to jump ahead a bit and talk in general terms about how Mr. Pelican has an amazing ability to disengage his intellect. Then, I'll back up and fill in some of the details. Okay, so to start with the general stuff, Mr. Pelican's supercilious, twisted asseverations have caused the most self-deceiving analphabetics you'll ever see to descend upon us like a swarm of locusts, destroying our moral fiber. Yet there's much more to it than that. His occasional demonstrations of benevolence are not genuine. Nor are Mr. Pelican's promises. In fact, he uses cannibalism to cover up his criminal ineptitude. That's the large elephant in the room that nobody ever talks about. Nevertheless, I unquestionably maintain that people really ought to start talking about it because then they'd realize that Mr. Pelican makes a lot of exaggerated claims. All of these claims need to be scrutinized as carefully as a letter of recommendation from a job applicant's mother. Consider, for example, Mr. Pelican's claim that all any child needs is a big dose of television every day. The fact of the matter is that I profess that the best way to overcome misunderstanding, prejudice, and hate is by means of reason, common sense, clear thinking, and goodwill. Mr. Pelican, in contrast, believes that all it takes to start a rabbit farm is a magician's magic hat.
Sólfarið
The gleaming steel sculpture on Reykjavik’s splendid waterfront that resembles a Viking long-ship is the ‘Solfar’ or ‘Sun Voyager.’ The artist Jon Gunnar Arnason created the striking landmark by the seaside with a marveling view of the bay with Mount Esja at the background.
Does Sólfarið represent a viking ship?
It is a common misunderstanding that Sun Voyager is a Viking ship. It is quite understandable that many tourists think this when travelling in Iceland, the land of the Sagas. Nonetheless, it should be stressed that this was not the original intention. It is a dream boat and an ode to the sun. It represents the promise of undiscovered territory and a dream of hope, progress and freedom.
In 1986, the district association funded a competition for an outdoor sculpture to celebrate Reykjavik‘s 200 year anniversary. The Sun Voyager was the winning piece.
Sólfarið – An ode to the sun
Jon Gunnar was very ill with leukemia at the time that the full-scale Sun Voyager was constructed. He died in April 1989, a year before it was placed in its present location. Some people have thus suggested that Jon Gunnar conceived the work during this time when he might have been preoccupied with death. They have argued that Sun Voyager should be seen as a vessel that transports souls to the realm of the afterlife. While this is a nice idea and might be imagined to have some validity, it actually has little truth (at least from the point of view of the artist).
Totems, skillfully carved by artists in Southeast Alaska, reflect these resources with symbolic characters carved on totem poles and on the community house at Totem Bight. Despite early misunderstanding by European missionaries, totem poles were not worshipped; they were silent storytellers. There was no written language.
This guy let me get down to eye level with him and he never did try to escape my interest...a very co-operative subject. I know a lot of people are creeped out by snakes but I think this one is quite cute!
Later that day ~ Due to what I consider to be a misunderstanding, for the first time ever somebody has blocked me. This is the Flickrmail I attempted to send when I realized I'd been blocked. Hopefully you will see it ~
I must apologize...if I didn't comment on your work, it was an oversight on my part. After joining Flickr years ago, I wrote my first testimonial for you and I've only written three in my time here. I regard your work very highly and it deserves heaps of praise.
Best wishes,
Peggy
To all my contacts ~ I do my best to respond to your comments but it's difficult to do this for every one of you everytime I post. My apologies if I mess up sometimes.
The European polecat (Mustela putorius), also known as the common polecat, black or forest polecat, European ferret, wild ferret, or simply polecat, is a species of mustelid native to western Eurasia and North Africa. It is of a generally dark brown color, with a pale underbelly and a dark mask across the face. Occasionally, color mutations including albinos, leucists, amelanists and erythrists occur. It has a shorter, more compact body than other Mustela species, a more powerfully built skull and dentition, is less agile, and is well known for having the characteristic ability to secrete a particularly foul-smelling liquid to mark its territory.
It is much less territorial than other mustelids, with animals of the same sex frequently sharing home ranges. Like other mustelids, the European polecat is polygamous, with pregnancy occurring after mating, with no induced ovulation. It usually gives birth in early summer to litters consisting of five to 10 kits, which become independent at the age of two to three months. The European polecat feeds on small rodents, birds, amphibians and reptiles. It occasionally cripples its prey by piercing its brain with its teeth and stores it, still living, in its burrow for future consumption.
The European polecat originated in Western Europe during the Middle Pleistocene, with its closest living relatives being the steppe polecat, the black-footed ferret and the European mink. With the two former species, it can produce fertile offspring, though hybrids between it and the latter species tend to be sterile, and are distinguished from their parent species by their larger size and more valuable pelts.
The European polecat is the sole ancestor of the ferret, which was domesticated more than 2,000 years ago for the purpose of hunting vermin. The species has otherwise been historically viewed negatively by humans. In Britain especially, the polecat was persecuted by gamekeepers, and became synonymous with promiscuity in early English literature. During modern times, the polecat is still scantly represented in popular culture when compared to other rare British mammals, and misunderstandings of its behavior still persist in some rural areas.
The dimensions of the European polecat vary greatly. The species does not conform to Bergmann's rule, with the pattern of size variation seeming to follow a trend of size increase along an east–west axis. Males measure 350–460 mm in body length and females are 290–394 mm. The tail measures 115–167 mm in males and 84–150 mm in females. Adult males in middle Europe weigh 1,000-1,500 grams and females 650-815 grams. Gigantism is known among polecats, but specimens exhibiting this are likely the products of polecat-mink hybridization.
The European polecat is present in all of France's territories, excepting Corsica, and has been in a state of decline for several decades. Nevertheless, it is listed as Least Concern on France's Red Data Book. The European polecat is rare in numerous regions or départements. In the Rhone-Alps region, its population has undergone a sizeable decline since the 1990s, largely as a consequence of poisoning campaigns against muskrats. A 1999 study on the decline of polecats in this region indicated the species has little chance of surviving there. Elsewhere, it is considered either rare or sporadic in 22 districts and absent or extirpated in 22 others. In Drôme, for example, polecat populations have been decreasing since 1975, and have disappeared in 27 communes in Isère. Its numbers are declining in Morvan and Ariège, and is thinly distributed in Brittany. Although present in Aquitaine, its numbers have been dropping since the 1950s, and is very rare in the mountain regions. In Normandy, the speed of the polecat's decline has somewhat decreased. In the alpine départements, its range is limited by altitude, as the species relies on more Mediterranean climates to thrive. It is, however, especially abundant in the irrigated Crau, but is absent on the eastern part of the area, apparently being restricted by the valleys of the Durance and Rhone Rivers. The largest populations occur in Northern France: Pas de Calais, Central France; Alsace, Lorraine and the areas of the Loire with the Vendée, which holds the largest record of polecat observations. It is common in all the départements of Champagne-Ardenne.
For more information, please visit en.wikipedia.org/wiki/European_polecat
( Aka The Curse of the Selfies)
models: Juan
Here is an extract of my work: vanishing gods.
It's a representation of the conflict between the old generation destroying the legacy of their children.
I also try to explain our lack of spirituality, through the decadence of our own representation of divinities or gods. These one we have created.
These pictures are about the great misunderstanding between religion and spirituality.
Less Gods and more Spirit.
www.modelmayhem.com/theanticstaatsoper
theanticstaatsoper.tumblr.com/
Bello Honesto Emigrato Australia Marries Compaesana Illibata -
Director: Luigi Zampa
Writers: Rodolfo Sonego
Stars: Alberto Sordi, Claudia Cardinale, Riccardo Garrone
(1971)
A worker who emigrated to Australia searches for a mail-order wife using a friend's photo. A former prostitute who wants to change her life contacts him, without revealing her identity. Their mutual lies create a series of hilarious and bitter misunderstandings.
Amedeo is a poor Italian immigrant living in Australia for twenty years. Seeking to marry an Italian wife, he corresponds with Carmela, a pretty girl from Rome. They do not reveal their true identities and do not mention their hardships in their letters. Carmela is actually a prostitute seeking an opportunity to change her life style. Amedeo, embarrassed about his looks, sends a photograph to Carmela of his handsome friend Giuseppe.
Busy and dreamy Amedeo returns from work
life scenes
DSC - 4272
Bello Honest Emigrant Australia Would Marry Compaesana Illibata -
Director: Luigi Zampa
Writers: Rodolfo Sonego
Stars: Alberto Sordi, Claudia Cardinale, Riccardo Garrone
(1971)
A worker who emigrated to Australia searches for a mail-order wife using a friend's photo. A former prostitute who wants to change her life contacts him, without revealing her identity. Their mutual lies create a series of hilarious and bitter misunderstandings.
Amedeo is a poor Italian immigrant living in Australia for twenty years. Seeking to marry an Italian wife, he corresponds with Carmela, a pretty girl from Rome. They do not reveal their true identities and do not mention their hardships in their letters. Carmela is actually a prostitute seeking an opportunity to change her lifestyle. Amedeo, embarrassed about his looks, sends Carmela a photograph of his handsome friend Giuseppe.
A handsome Amedeo goes into town looking for what he seeks.
Outside the ballroom, he visits the parish priest with whom he receives
new exchanges of messages to find an Italian woman
he wants to marry.
Life scenes
DSC - 4324
I was driving home and saw this extraordinary moment and had to pull off of Park Street to capture this exquisite Sunset view over the inter-coastal waters. It was even more amazing in person! Hope your week is off to a great start my very talented friends!!
"Productive, Not Destructive, Conflict" by Boyd Bailey
Repay no one evil for evil, but give thought to do what is honorable in the sight of all. Romans 12:17
The silent treatment contributes to a slow relational death. Some people who are hurt by insensitivity or disinterest of others default to emotional disengagement. Sadly, their way of punishing someone they love is to withhold love, or they simply lack the skills to fight fair. Their choice to stew in isolation can cook up bitterness in their own heart and feelings of rejection in others. At their emotional boiling point people tend to accuse and demand. Destructive conflict doesn't fight fair.
However, productive conflict uses disagreements to engage each other’s hearts. Love is patient to truly understand another's perspective. What may be a misunderstanding is managed with questions and a spirit of seeking to comprehend not complain. Instead of attacking, there is vulnerability with our feelings. For example, we might say, “I want to help, but right now I don’t know how.” During productive conflict we can hit the pause button, take a deep breath and perhaps pray out loud for one another. Prayerful words replace silent pouting.
“Listen, open your ears, harness your desire to speak, and don’t get worked up into a rage so easily, my brothers and sisters” (James 1:19, The Voice).
Furthermore, as we grow in grace we grow to honor individuals as the Lord does. Instead of being disrespectful with our distant demeanor, we communicate respect with our caring eye contact. We embrace another’s differences as an opportunity to learn and improve our thinking. We are quick to confess our quirks, even laugh at our weaknesses, as our heavenly Father reminds us to take Him but not ourselves too seriously. Productive conflict develops our dependence on God and on each other. It's like heavenly sandpaper to smooth our rough edges.
Therefore, fight fair and remember the devil is the enemy. Spiritual battles are won on our knees. The accuser,Satan, is silenced when we surrender to the Lord’s relational terms of engagement. Selfishness is exiled when we submit our expectations to God. Timely, sincere apologies with forgiveness replace agonizingly long periods of silence or withheld intimacy. Relational skills are needed to manage conflict well. Listen well, think the best and create a safe environment for difficult conversations. Productive conflict increases trust, friendship and intimacy.
“Be gentle and forbearing with one another and, if one has a difference (a grievance or complaint) against another, readily pardoning each other; even as the Lord has [freely] forgiven you, so must you also [forgive]” (Colossians 3:13)
Prayer: Heavenly Father, use conflict in my life to draw me closer to You and closer to those who are different from me.
Related Readings: Job 6:24; Proverbs 10:19; Romans 15:7; Ephesians 4:32; James 3:3-12
Productive conflict hits the pause button, takes a deep breath and prays out loud for one another.
(Wisdom Hunters www.wisdomhunters.com/ )
Eventually we trudged over t' hill until we could see t' street light twinkling in our village.
Me father smiled down at me through t' icicles hanging off his nose
"Nearly 'ome now lad" he said
We stumbled into 'ouse and stood there freezing cold and tired out
Shivering and miserable in front t' meagre fire
"Any road" me Mam says, "Cheer up lads. I've got you some nice brown bread and b***er for yer tea."
Ee me father went crackers
He reached out and gently pulled me Mam towards him by t' throat.
"You big fat idle ugly wart" he said
"You great fat useless spawny eyed parrot faced wassock."
He had a way with words me father
He's been to college you know...
Taken from 'Capstick Comes Home'.
And the music for this evening ladies and gentlemen, well it could only be Dvořák
This is taken from Dvorak’s 9th and final symphony 'From the New World, composed in 1893 during his tenure as director of the National Conservatory of Music of America. Neil Armstrong took a recording of the New World Symphony to the Moon during the Apollo 11 mission. So I guess if it's good enough for Mr Armstrong, it's good enough for Flickr.
It also achieved fame as the theme of the Hovis advert in 1973, hence the above. Other breads are available.
main light: AB1600 with 90cm gridded octabox from camera left
warm glow: SB25 (with sla battery adapter) inside the wooden box, aiming straight up at the bottle, gelled with 2 layers of green plastic cut from a green tea bottle (due to a misunderstanding who would bring the gels to the shoot)
liquid: water with a dash of milk for an even spread of light
triggered with skyports
model: ophelia
corset: royalblack
This was Christmas day. I was too sick to be outside,but Lee got a couple of shots of
our snow flurries. It didn't stay for long. I added a little texture to this one.
Wishing all of you good things for the New Year !
May God bless you all...
Today was also a day I had prayed for. After a misunderstanding quite some time ago,a friend asked my forgiveness. It was gladly granted ! Thanks be to God.
African bush elephant calf
Afrikanischer Elefantenkalb
Kruger National Park is one of the largest game reserves in Africa. It covers an area of 19,485 km2 (7,523 sq mi) in the provinces of Limpopo and Mpumalanga in northeastern South Africa, and extends 360 km (220 mi) from north to south and 65 km (40 mi) from east to west. The administrative headquarters are in Skukuza. Areas of the park were first protected by the government of the South African Republic in 1898, and it became South Africa's first national park in 1926.
To the west and south of the Kruger National Park are the two South African provinces of Limpopo and Mpumalanga. In the north is Zimbabwe, and to the east is Mozambique. It is now part of the Great Limpopo Transfrontier Park, a peace park that links Kruger National Park with the Gonarezhou National Park in Zimbabwe, and with the Limpopo National Park in Mozambique.
The park is part of the Kruger to Canyons Biosphere an area designated by the United Nations Educational, Scientific and Cultural Organization (UNESCO) as an International Man and Biosphere Reserve (the "Biosphere").
The park has nine main gates allowing entrance to the different camps.
(Wikipedia)
Name
African Elephant or African Bush Elephant [Loxodonta africana]
Introduction
The Elephant is the world's largest land mammal, and weighs up to 7 tonnes and reaches heights of 3.3 m at the shoulder. Elephants can live to a potential age of 70 years. The massive tusks of older bulls can weigh up to 50 or 60 kilograms, but tusks weighing up to 90 kilograms have been recorded.
Appearance
What is the trunk and what is it used for?
The Elephant's trunk is a modified nose which is very sensitive and can even detect water under ground. There are as many as 50 000 muscles in an Elephant trunk. The sensitive finger-like appendages at the tip of the trunk enables them to pick the smallest twig or flower, pull the toughest reed of grass or even pick out a thorn from their feet.
Do elephants have knees or elbows?
The joints that are perceived as 'knees', are in fact wrists. This is a common misunderstanding due to the belief that a leg joint that bends between the foot and the body must be a knee. The main difference between us and the elephants is that our foot bones and hand bones are separate, whereas those of the elephant are one in the same, and have evolved to suit this four-legged mammal.
Why do elephants have tusks?
The tusks are used for obtaining food, fighting (amongst males) and for self defence. They are actually their upper incisors, and grow continuously until they die at around 60 years old. Although their skin is up to 3cm (1 inch) thick, it is quite sensitive.
Diet
Elephants are voracious feeders which in a day consume up to 272 kg (600 pounds) of grass, tender shoots and bark from trees. An adult Elephant can drink up to 200 litres of water in a single session. A single Elephant deposits up to 150kg (330 pounds) of dung every day - about one dollop every 15 minutes!
Breeding
African Elephant are not seasonal breeders. Generally they produce one calf every 3 to 4 years. The gestation period is about 22 months. At birth calves weigh about 100 kg (220 pounds) and are fully weaned between 18-24 months. An orphaned calf will usually be adopted by one of the family's lactating females or suckled by various females. Elephants are very attentive mothers, and because most Elephant behavior has to be learned, they keep their offspring with them for many years. Tusks erupt at 16 months but do not show externally until 30 months. Once weaned, usually at age 4 or 5, the calf still remains in the maternal group. Females mature at about 11 years and stay in the group, while the males, which mature between 12 and 15, are usually expelled from the maternal herd. Even though these young males are sexually mature, they do not breed until they are in their mid, or late 20s or even older and have moved up in the social hierarchy.
Behaviour
Mature males form bachelor groups and become solitary bulls. Elephant form strong family units of cows, calves and young offspring. Such herds are always led by an old female. Apart from drinking large quantities of water they also love wading or swimming in it. Elephants clearly relish mud baths.
It was once thought that family groups were led by old bull elephants, but these males are most often solitary. The female family groups are often visited by mature males checking for females in oestrus. Several interrelated family groups may inhabit an area and know each other well.
How do you tell an elephant's mock charge from a serious one?
It is imperative to keep in mind that Elephant are extremely intelligent, and each individual has a distinct character. Although there will be exceptions to the rules, the common signs of a mock charge are bush-bashing, dust-throwing, trumpeting and other vocalizations, open ears and an intimidating presence, can be considered a mock-display. Aggressive or startled elephants usually make sudden headshakes and flap their large ears against their head. Serious charges usually occur after all attempts to intimidate have failed, and the Elephant feels threatened. The ears are pinned back and head and trunk are lowered. Ultimately, the key lies in the intelligence of the animal and how they will react to the 'target' and unfamiliar actions, and a conscious decision is made.
Why do elephants rhythmically flap their ears?
Contrary to common belief, it is not an expression of anger. Being an animal of such a large size, with no sweat glands and a dark body colour, elephants flap their ears to cool the body and rid themselves of irritating insects.
Where are they found?
Once ranging across most of Africa the Elephant population has declined dramatically across the continent. In South Africa the Addo Elephant and Kruger National Park protect large herds. Due to rigorous conservation measures the Elephant population in South Africa has grown from a estimated 120 in 1920 in 4 locations, to 10 000 at 40 locations to date.
Notes
The African Elephant has recently been classified into two separate species, the more common African Bush Elephant [Loxodonta Africana] and the smaller African Forest Elephant [Loxodonta cyclotis] of the rainforest of Central Africa.
(krugerpark.co.za)
Der Kruger-Nationalpark (deutsch häufig falsch Krüger-Nationalpark) ist das größte Wildschutzgebiet Südafrikas. Er liegt im Nordosten des Landes in der Landschaft des Lowveld auf dem Gebiet der Provinz Limpopo sowie des östlichen Abschnitts von Mpumalanga. Seine Fläche erstreckt sich vom Crocodile-River im Süden bis zum Limpopo, dem Grenzfluss zu Simbabwe, im Norden. Die Nord-Süd-Ausdehnung beträgt etwa 350 km, in Ost-West-Richtung ist der Park durchschnittlich 54 km breit und umfasst eine Fläche von rund 20.000 Quadratkilometern. Damit gehört er zu den größten Nationalparks in Afrika.
Das Schutzgebiet wurde am 26. März 1898 unter dem Präsidenten Paul Kruger als Sabie Game Reserve zum Schutz der Wildnis gegründet. 1926 erhielt das Gebiet den Status Nationalpark und wurde in seinen heutigen Namen umbenannt. Im Park leben 147 Säugetierarten inklusive der „Big Five“, außerdem etwa 507 Vogelarten und 114 Reptilienarten, 49 Fischarten und 34 Amphibienarten.
(Wikipedia)
Der Afrikanische Elefant (Loxodonta africana), auch Afrikanischer Steppenelefant oder Afrikanischer Buschelefant, ist eine Art aus der Familie der Elefanten. Er ist das größte gegenwärtig lebende Landsäugetier und gleichzeitig das größte rezente landbewohnende Tier der Erde. Herausragende Kennzeichen sind neben den Stoßzähnen und dem markanten Rüssel die großen Ohren und die säulenförmigen Beine. In zahlreichen morphologischen und anatomischen Merkmalen unterscheidet sich der Afrikanische Elefant von seinen etwas kleineren Verwandten, dem Waldelefanten und dem Asiatischen Elefanten. Das Verbreitungsgebiet umfasst heute große Teile von Afrika südlich der Sahara. Die Tiere haben sich dort an zahlreiche unterschiedliche Lebensräume angepasst, die von geschlossenen Wäldern über offene Savannenlandschaften bis hin zu Sumpfgebieten und wüstenartigen Regionen reichen. Insgesamt ist das Vorkommen aber stark fragmentiert.
Die Lebensweise des Afrikanischen Elefanten ist durch intensive Studien gut erforscht. Sie wird durch einen stark sozialen Charakter geprägt. Weibliche Tiere und ihr Nachwuchs leben in Familienverbänden (Herden). Diese formieren sich wiederum zu einem enger verwandten Clan. Die einzelnen Herden treffen sich zu bestimmten Gelegenheiten und trennen sich danach wieder. Die männlichen Tiere bilden Junggesellengruppen. Die verschiedenen Verbände nutzen Aktionsräume, in denen sie teils im Jahreszyklus herumwandern. Für die Kommunikation untereinander nutzen die Tiere verschiedene Töne im niedrigen Frequenzbereich. Anhand der Lautgebung, aber auch durch bestimmte chemische Signale können sich die einzelnen Individuen untereinander erkennen. Darüber hinaus besteht ein umfangreiches Repertoire an Gesten. Hervorzuheben sind auch die kognitiven Fähigkeiten des Afrikanischen Elefanten.
Die Nahrung besteht sowohl aus weicher wie auch harter Pflanzenkost. Die genaue Zusammensetzung variiert dabei regional und jahreszeitlich. Generell verbringt der Afrikanische Elefant einen großen Teil seiner Tagesaktivitäten mit der Nahrungsaufnahme. Die Fortpflanzung erfolgt ganzjährig, regional gibt es Tendenzen zu einer stärkeren Saisonalisierung. Bullen kommen einmal jährlich in die Musth, während deren sie auf Wanderung zur Suche nach fortpflanzungswilligen Kühen gehen. Während der Musth ist die Aggressivität gesteigert, es finden dann auch Rivalenkämpfe statt. Der Sexualzyklus der Kühe dauert vergleichsweise lange und weist einen für Säugetiere untypischen Verlauf auf. Nach erfolgter Geburt setzt er in der Regel mehrere Jahre aus. Zumeist wird nach fast zweijähriger Tragzeit ein Jungtier geboren, das in der mütterlichen Herde aufwächst. Junge weibliche Tiere verbleiben später in der Herde, die jungen männlichen verlassen diese.
Die wissenschaftliche Erstbeschreibung des Afrikanischen Elefanten erfolgte im Jahr 1797 mit einer formalen artlichen Trennung des Afrikanischen vom Asiatischen Elefanten. Der heute gebräuchliche Gattungsname Loxodonta wurde offiziell erst dreißig Jahre später eingeführt. Die Bezeichnung bezieht sich auf markante Zahnunterschiede zwischen den asiatischen und den afrikanischen Elefanten. Im Verlauf des 20. Jahrhunderts wurden mehrere Unterarten unterschieden, darunter auch der Waldelefant des zentralen Afrikas. Letzterer gilt heute genetischen Untersuchungen zufolge als eigenständige Art, die weiteren Unterarten sind nicht anerkannt. Stammesgeschichtlich lässt sich der Afrikanische Elefant erstmals im beginnenden Mittleren Pleistozän belegen. Der Gesamtbestand gilt als gefährdet. Ursachen hierfür sind hauptsächlich die Jagd nach Elfenbein und Lebensraumverlust durch die zunehmend wachsende menschliche Bevölkerung. Der Afrikanische Elefant zählt zu den sogenannten „Big Five“ von Großwildjagd und Safari.
(Wikipedia)
This was one of my favourites and it ended up being sold to my boss at a greatly reduced rate. I like my boss very much, but the sale of the piece at the reduced rate was more of a misunderstanding which I was then to embarrassed to rectify.!!! Any other piece of work wouldn't have mattered so much .................................................... to make matters worse a very very good friend wanted it but couldn't afford it at the original price!
The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is an historic mosque in Istanbul. The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.
It was built from 1609 to 1616, during the rule of Ahmed I. Its Külliye contains a tomb of the founder, a madrasah and a hospice. While still used as a mosque, the Sultan Ahmed Mosque has also become a popular tourist attraction.
The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of both Ottoman mosque and Byzantine church development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.
The facade of the spacious forecourt was built in the same manner as the facade of the Süleymaniye Mosque, except for the addition of the turrets on the corner domes. The court is about as large as the mosque itself and is surrounded by a continuous vaulted arcade (revak). It has ablution facilities on both sides. The central hexagonal fountain is small relative to the courtyard. The monumental but narrow gateway to the courtyard stands out architecturally from the arcade. Its semi-dome has a fine stalactite structure, crowned by a small ribbed dome on a tall tholobate.
A heavy iron chain hangs in the upper part of the court entrance on the western side. Only the sultan was allowed to enter the court of the mosque on horseback. The chain was put there, so that the sultan had to lower his head every time he entered the court to avoid being hit. This was a symbolic gesture, to ensure the humility of the ruler in the face of the divine.
The reason the architect built six minarets, hereby matching the number of minarets of the Masjid al-Haram, Grand Mosque in Mecca, is probably a misunderstanding: the Sultan directed his architect to make gold (Turkish word: altin) minarets, it was misunderstood by the architect as six (Turkish word: alti) minarets.
The six minarets were a matter of contention and a first, since four minarets were the common maximum. Only after one more minaret was added to the Grand Mosque in Mecca, was the six minarets-issue settled.
Ryōan-ji (龍安寺 o 竜安寺 El templo del dragón tranquilo y pacífico) es un templo Zen situado en Kioto, Japón. Forma parte del conjunto de Monumentos históricos de la antigua Kioto (ciudades de Kioto, Uji y Otsu) declarados Patrimonio de la Humanidad por la Unesco en el año 1994. El templo fue creado por la escuela Myoshinji de los Rinzai, pertenecientes al Budismo Zen.
Dentro de este templo existe uno de los karesansui (jardines secos) más famosos del mundo, construido a finales del siglo XV, en torno al 1488. El creador de este jardín no dejó ninguna explicación sobre su significado, por lo que durante siglos ha sido un misterio descubrir el verdadero sentido o el porqué de su gran belleza.
Se trata de un jardín rectangular construido frente al edificio principal. La composición utiliza arena rastrillada, musgo y rocas. Existe un predominio de formas alargadas colocadas en paralelo a la posición del edificio.
Los tres lados restantes están cerrados por muros, lo que -junto a la línea inferior de la plataforma desde la que se debe contemplar el edificio- permite acotar la visión del jardín en un marco longitudinal.
Durante muchos años se pensó que la mejor interpretación del sentido de la disposición de las piedras en el jardín era el de una especie de "Tigre cruzando un río". En el 2002, unos científicos de la Universidad de Kioto utilizaron ordenadores para buscar formas usando la disposición de las zonas vacías del jardín en vez de la disposición de las piedras y encontraron el patrón de un árbol escondido dentro de la estructura del jardín. Dicen que por eso es tan placentero presenciar el jardín, nuestro subconsiciente capta el patrón del árbol sin que lo notemos.
El mismo equipo de investigación probó moviendo algunas piedras de forma aleatoria y vieron que enseguida se perdía la armonía de la configuración inicial. Por ello creen que la construcción del jardín está muy bien pensada y no es un acto de la casualidad.
Aunque el jardín de rocas es el más conocido de Ryōan-ji, el templo también tiene un jardín acuático; el estanque Kyoyochi, construido en el siglo XII como parte de la finca Fujiwara. Recientemente se han plantado cerezos al noroeste del estanque.
es.wikipedia.org/wiki/Ry%C5%8Dan-ji
japonismo.com/blog/viajar-japon-el-templo-ryoanji-de-kioto
Ryōan-ji (Shinjitai: 竜安寺, Kyūjitai: 龍安寺, The Temple of the Dragon at Peace) is a Zen temple located in northwest Kyoto, Japan. It belongs to the Myōshin-ji school of the Rinzai branch of Zen Buddhism. The Ryōan-ji garden is considered one of the finest surviving examples of kare-sansui ("dry landscape"), a refined type of Japanese Zen temple garden design generally featuring distinctive larger rock formations arranged amidst a sweep of smooth pebbles (small, carefully selected polished river rocks) raked into linear patterns that facilitate meditation. The temple and its gardens are listed as one of the Historic Monuments of Ancient Kyoto, and as a UNESCO World Heritage Site.
There is controversy over who built the garden and when. Most sources date it to the second half of the 15th century. The conclusive history, though, based on documentary sources, is as follows: Hosokawa Katsumoto (1430–1473), deputy to the shōgun, founded in 1450 the Ryōan-ji temple, but the complex was burnt down during the Ōnin War. His son Masamoto rebuilt the temple at the very end of the same century. It is not clear whether any garden was constructed at that time facing the main hall. First descriptions of a garden, clearly describing one in front of the main hall, date from 1680–1682. It is described as a composition of nine big stones laid out to represent Tiger Cubs Crossing the Water. As the garden has fifteen stones at present, it was clearly different from the garden that we see today. A great fire destroyed the buildings in 1779, and rubble of the burnt buildings was dumped in the garden. Garden writer and specialist Akisato Rito (died c. 1830) redid the garden completely on top of the rubble at the end of the eighteenth century and published a picture of his garden in his Celebrated Gardens and Sights of Kyoto (Miyako rinsen meisho zue) of 1799, showing the garden as it looks today. One big stone at the back was buried partly; it has two first names carved in it, probably names of untouchable stone workers, so called kawaramono. There is no evidence of Zen monks having worked on the garden, apart from the raking of the sand.
The temple's name is synonymous with the temple's famous Zen garden, the karesansui (dry landscape) rock garden, thought to have been built in the late 15th century.
The garden is a rectangle of 248 square meters (2,670 square feet), twenty-five meters by ten meters. Placed within it are fifteen stones of different sizes, carefully composed in five groups; one group of five stones, two groups of three, and two groups of two stones. The stones are surrounded by white gravel, which is carefully raked each day by the monks. The only vegetation in the garden is some moss around the stones.
The garden is meant to be viewed from a seated position on the veranda of the hōjō, the residence of the abbot of the monastery. The stones are placed so that the entire composition cannot be seen at once from the veranda. They are also arranged so that when looking at the garden from any angle (other than from above) only fourteen of the boulders are visible at one time. It is traditionally said that only through attaining enlightenment would one be able to view the fifteenth boulder.
The wall behind the garden is an important element of the garden. It is made of clay, which has been stained by age with subtle brown and orange tones. In 1977, the tile roof of the wall was restored with tree bark to its original appearance. When the garden was rebuilt in 1799, it came up higher than before and a view over the wall to the mountain scenery behind came about. At present this view is blocked by trees.
Like any work of art, the artistic garden of Ryōan-ji is also open to interpretation or research into possible meanings. Many different theories have been put forward inside and outside Japan about what the garden is supposed to represent, from islands in a stream, a tiger family crossing a river, mountain peaks, to theories about secrets of geometry or the rules of equilibrium of odd numbers. Garden historian Gunter Nitschke wrote: "The garden at Ryōan-ji does not symbolize anything, or more precisely, to avoid any misunderstanding, the garden of Ryōan-ji does not symbolize, nor does it have the value of reproducing a natural beauty that one can find in the real or mythical world. I consider it to be an abstract composition of 'natural' objects in space, a composition whose function is to incite meditation."
In an article published by the science journal Nature, Gert van Tonder and Michael Lyons analyze the rock garden by generating a model of shape analysis (medial axis) in early visual processing.
Using this model, they show that the empty space of the garden is implicitly structured, and is aligned with the temple's architecture. According to the researchers, one critical axis of symmetry passes close to the centre of the main hall, which is the traditionally preferred viewing point. In essence, viewing the placement of the stones from a sightline along this point brings a shape from nature (a dichotomously branched tree with a mean branch length decreasing monotonically from the trunk to the tertiary level) in relief.
The researchers propose that the implicit structure of the garden is designed to appeal to the viewer's unconscious visual sensitivity to axial-symmetry skeletons of stimulus shapes. In support of their findings, they found that imposing a random perturbation of the locations of individual rock features destroyed the special characteristics.
While the rock garden is the best-known garden of Ryōan-ji, the temple also has a water garden; the Kyoyochi Pond, built in the 12th century as part of the Fujiwara estate. Cherry trees have recently been planted northwest of the pond.
Got an e-mail yesterday that ticked me right the heck off. Turns out it was sort of a misunderstanding. I'm still annoyed, but not as pissed as I was.
This was the 20-07 Edinburgh Waverley to Heaton CS empty coaching stock move. I was held here for about ten minutes due to an incident at Cramlington station a few miles further south.
It was this very location where the tragic fatal crash on the night of November 13th 1992 took place.
One of my colleagues at Tyne Yard at the time John G was stood at this signal ( M110) with his class 37 heading the empty return working of the Leith to Hartlepool pipe working. This consisted entirely of bogie bolster wagons. Due to similar head codes and a misunderstanding by the Morpeth signal man and Millerhill based driver on a following MGR working John G’s train was impacted in the rear by 56066 which instantly killed its driver due to the last wagon riding up over the buffer beam and crushing the driving cab totally. John said the impact pushed his loco forward at least an engine length.
Apparently the tail lamp battery had gone flat so was not working, making the low level wagons unnoticeable in the dark until the last few seconds.
I know this crash haunted the stationary pipe train driver John G. He talked about the nights events a couple of times with me in the years that followed. John opted for early retirement a few years ago now. I hope John is doing well, he was a good driver and a pleasure to work with.
In the weeks following the tragedy, a few wreaths we placed on the bank side by family members at the exact site where the impact took place. That would have been more or less where the rear of my train was stood.
I'm watching too often in the wrong direction, repeating mistakes after misunderstandings... Forgetting to see what I have near me, in front of my eyes. The most important, the most pure, the most true. And the promise of a better future, instead of dreaming to better pasts.
Watch & listen : Sanvean
In Bay Crossing (a film which documents the artist crossing the San Francisco Bay in a home made rowboat), the story is told through recorded telephone conversations between Steve and various representatives of local agencies (Coast Guard, Parks and Recreation, etc.). This dialogue runs the length of the film, and overlays the visual footage of the actual crossing in progress. Thus we witness the "real" event while listening to Steve attempt to explain his plans for the event (which are for the most part met with - at best skepticism, and sometimes alarm). This juxtaposition provides more than the (sweet) irony of being cautioned not to do something while doing it; it highlights the ambiguity of communication - I say one thing, you hear another. Of course Steve is aware of this, and his deadpan inquisitiveness is the perfect foil for the bureaucratic mindset on the other end of the line. We know that he knows communication is slippery business. The visual quality of the film, washed out super8 footage which simply presents us with the repetitive act of rowing the boat, is contrasted with the immediacy and specifics of the telephone dialogue. This fleeting sense of meaning, and misunderstanding, strikes a chord familiar in Steve's work: funny, yes, but not without a touch of longing and melancholy.
See more at www.swipple.com/exhibit.php?id=138
NOTE- Thanks, everyone, but I need to clarify something- this is a technique I SAW Cat Cora do on Iron Chef America, and the written recipe is just me transcribing what I did as I fumbled along in imitation.
So the idea is hers, but the words are mine :) No doubt she could have done it better than I.
Thanks! Just didn't want any misunderstanding.
1) Wash and peel a large, fairly tart apple. I used a Pink Lady here, but as you can see it's a little dark and mealy. Next time I'll go with a good old Granny Smith. Using a melon baller, extract balls of apple. A large apple will yield about 6 balls (plus scraps for you to snack on). Place in a bowl and sprinkle with lemon juice.
2) Prepare a dipping station. I'm using mini-cupcake papers and shortened bamboo skewers (cut with kitchen shears- the remnants are great for stirring and whatnot). I also have a bowl of crushed nuts (peanuts in this case) and a bowl of warmed caramel apple dip.
3) Carefully spear each ball of apple through the ROUND end. Keep the flat end on the bottom, so they stand upright. Using a paper towel, blot off the excess lemon juice. This is important- if the apple has too much juice left on it, the caramel won't stick.
4) Dip the apple in the caramel, using a twirling motion to coat it evenly.
5) Transfer the apple to the nuts and roll, using a gentler twirling motion.
6) Stand the apples upright in the cups and let them chill in the fridge to solidify. Cute and addictive!
Wear your pride on your sleeve, you never know who may be watching.
Over the last few months I've been overwhelmed with emotion over hate crimes against the queer community. In Portland, a beloved hair stylist and active member of many communities was stabbed and killed in a gay hate crime, he was followed from his work just 3 blocks from my home. In Russia hundreds of oppressed individuals who are "suspected" to be gay are being murdered by family members or thrown in concentration camps to be tortured and killed, supported by the government that's supposed to protect them. These are just a few current attacks on our community. Nothing can undo these atrocities.
I believe those spirits deserve to live on through those of us who experience some levels of freedom. The only response I know is to be more proud of who I am, more vocal to those around me, and to create more beauty to combat the hatred. Only through personally bridging the gap between misunderstanding and acceptance can we hope to change minds of those who are blinded by hateful rhetoric that has been passed on through generations.
In loving memory of Jakob Jay and the victims in Russia.
Models: @btfred, @zread23
Family Asparagaceae Juss. 1789
Subfamily Agavoideae Herb. 1837
Section Yucca Engelm. [Sarcoyucca (Engelm. ) L. Lindinger 1933]
Series Gloriosae Hochstätter 2002
Species: native or man made Hybrid of unknown origin
Probably a 'short-day' plant, it begins to bloom usually until September / October, never in the period from May to July! This year these starts to bloom very early! An flower initiation at this Yucca I never observed if was a day length 15 hours or a night length of less than 9 hours.
Yucca x vomerensis C. Sprenger in Cat., 1901
In his "Mitteilungen über meine Yucca-Hibriden und -Formen" (Mitt. Deutsch. Dendrol. Ges. Nr. 29: 119. 1920) he wrote:.
"Yucca aloifolia x gloriosa gave me a large number of seedlings, but among themselves mostly very consistent, so that one could call them without further ado, one and all as 'vomerensis'."
Yucca x glorifolia nom. nud.
(not an valid name, and there can be misunderstandings because also used for Y. gloriosa x recurvifolia hybrids)
In the Botany of the Bermudas by H. B. Small, 1913, is listed
Similar forms are also called Yucca gloriosa 'aloifolia form'
The 'Mirror Stage' in human spiritual development shows that the Ego is the product of a misunderstanding - Implying a sad and false recognition.
This is the place where the subject becomes alienated from himself:
the process by which the ego is formed in the Mirror Stage is at the same time the institution of alienation from the symbolic determination of 'true being',
(and the chief cause of its untold suffering).
In later years when the subject has become blind to the interconnectedness of all things - believing fully in a 'seperate self' - one does not like what one see in the mirror.
But,
Beauty without the flaw - isnt
And so, break their mirrors and break the habit
Break the image and the viewpointing
Break the habit and, break thier mirrors
© justin haynes.
¡Y ya son 35 años de ensayos, conciertos, actos religiosos, viajes, encuentros, desencuentros...Pero siempre buena música y siempre dispuestos. Incluso durante la pandemia algun@s miembros continamos con los ensayos. El sábado queremos ofrecer a todas las personas que nos siguen un concierto de agradecimiento. Os esperamos a todos el róximo sabado 25 de Junio 2022, en la Iglesia de La Clerecía a las 20,30h.!
And it's already been 35 years of rehearsals, concerts, religious acts, trips, encounters, misunderstandings... But always good music and always ready. Even during the pandemic some members continue with rehearsals. On Saturday we want to offer all the people who follow us a concert of gratitude. We are waiting for you all next Saturday, June 25, 2022, at the Church of La Clerecía at 8:30 p.m.
Et ça fait 35 ans de répétitions, de concerts, d'actes religieux, de voyages, de rencontres, de malentendus... Mais toujours de la bonne musique et toujours prêt. Même pendant la pandémie, certains membres continuent les répétitions. Samedi nous voulons offrir à toutes les personnes qui nous suivent un concert de remerciement. Nous vous attendons tous samedi prochain, le 25 juin 2022, à l'église de La Clerecía à 20h30.
Simo Häyhä was a Finnish military sniper in the Second World War during the 1939–1940 Winter War against the Soviet Union. He used a Finnish-produced M/28-30, a variant of the Mosin–Nagant rifle, and a Suomi KP/-31 submachine gun. He killed 500 Russians in 100 days. He used iron sights so the enemy would not see a glare from a scope thus figurine out his position. On 6 March 1940, Häyhä was seriously wounded after an explosive bullet fired by a Red Army soldier hit his lower left jaw. After the battle Häyhä was found unconscious and believed dead, and he was placed on a pile of dead bodies. A fellow soldier, looking for Häyhä on orders from his commanding officer, noticed a leg twitching among the pile and found Häyhä alive. Häyhä was evacuated by fellow soldiers who said that "half his face was missing". The bullet had removed his upper jaw, most of his lower jaw, and most of his left cheek.
Rumors of Häyhä's death spread around in Finland and the Soviet Union. He regained consciousness a week later on 13 March, the day that peace was declared. He read about his own death in a newspaper, and sent a letter to the paper to correct the misunderstanding. Häyhä spent 14 months recovering from his wounds and endured 26 surgeries.
After his wounding, Häyhä would have liked to have served in the Continuation War (1941–44) as well. However, he was not allowed to because the injuries to his face were so severe.
I messed around with forced perspective so tell me what you think of it.
Vepr® Relics - "Arkadex Nick" Heavy Rail-Handgun (My Brother's B-Day)
It's my brother's b-day tommorrow. This is ded for him! I put in a lot of work into this so please leave some feedback, if possible. Faves are nice :3
This was made in the style of the stupidity and impracticalness of Borderlands 2.
Also, this is a first pistol in 0.6, go easy :P
VEPR INDUSTRIES IS HIRING. FM ME FOR DETAILS!
--------------------
Ammunition :
> Standard - .007 CL Tungsten Projectiles
Magazine : 20 rnd
Range : Low
Rate of fire : N/A
Firing modes : Semi Auto
Death is an art with Vepr Industries. Watch your enemy die amongst a crowd of dancing flame or watch them be fried in a swirl of electric bolts. Watch the fleshy body disintegrate harmoniously into fifty million equally sized blood red pieces and sweep right into the wind. That... is the beauty of Vepr.
The Arkadex Nick - Heavy Guns
Bulky handguns that shoot high powered tungsten projectiles covered in fire is apparently also our specialty! Manufactured only by Vepr Relics, it uses designs from Bullseye and combines it with our own awesome railgun tech. Also comes with tactical suppressor (which muffles it to about the sound of a textbook being dropped on a hard floor).
Power. Compactness. Accuracy. Arkadex Nick - Only from Vepr Relics.
--------------------
Creds and Deds:
-Crosshatched - tiny BB technique
-Beck - shaded rails
-Domo - red arrow thingy and inspiration and shit
La casa de Castril es un palacio renacentista ubicado en la ciudad española de Granada, comunidad autónoma de Andalucía; en ella se encuentra actualmente el Museo Arqueológico de Granada.
La casa se halla enclavada en la carrera del Darro, en el antiguo barrio árabe de Ajsaris, sede a partir del siglo XVI de parte de la nobleza granadina, como muestran sus construcciones blasonadas. La Casa de Castril es uno de los mejores ejemplos de palacios renacentistas de Granada y perteneció a la familia de Hernando de Zafra, secretario de los Reyes Católicos que participó activamente en la reconquista de la ciudad a los musulmanes y en sus Capitulaciones. En lo alto de la fachada está grabada la fecha de su construcción: 1539. Esta obra ha sido atribuida a Sebastián de Alcántara, uno de los más destacados discípulos de Diego de Siloé. En 1917 se adquirió la Casa del Castril a los herederos del insigne arabista Leopoldo Eguílaz y Yanguas para ubicar definitivamente el citado Museo.
Además, sobre el edificio recae una vieja leyenda, de cuando era habitado en época árabe, la cual se refiere a una misteriosa dama de blanco que se aparece de vez en cuando, fruto de un desencuentro entre el padre de una bella muchacha que habitaba el edificio y su supuesto amante, que desencadenaron la furia del padre y posteriormente su ahorcamiento y emparedamiento en el balcón lateral del edificio. Sobre este balcón ciego se puede leer una consigna que dice: "Esperando la del cielo", lo que podría referirse a "esperando la justicia del cielo", que probablemente tuviese relación con las palabras que el supuesto amante pronunció antes de ser ahorcado.
es.wikipedia.org/wiki/Casa_de_Castril
rinconesdegranada.com/casa-de-castril
The Castril palace (also House of Castril) is a Renaissance style palace located in Sacromonte, a district of the Spanish city of Granada. Nowadays it hosts the Archaeological Museum of Granada.
The house is nailed in the Race of the Darro, in the old Arab district of Ajsaris, seat of 16th century's granadine nobility. The palace is one of the best Renaissance palaces of Granada and belonged to the family of Hernando de Zafra, secretary of Catholic monarchs who participated actively in reconquering it from the Muslim hands during the Reconquista.
At the top of the facade the date of its foundation is recorded: 1539. This work has been attributed to Sebastián de Alcántara, one of the most outstanding disciples of Diego de Siloé. In 1917, the Castril palace was acquired by arabist and orientalist Leopoldo Eguílaz y Yanguas to make it a definitive location of the Archaeological Museum of Granada.
en.wikipedia.org/wiki/Castril_Palace
There is also an old legend about the building, dating back to the time when it was inhabited in Arab times, which refers to a mysterious lady in white who appears from time to time, the result of a misunderstanding between the father of a beautiful girl who lived in the building and her supposed lover, which triggered the father's fury and subsequently led to her hanging and walling herself up on the side balcony of the building. On this blind balcony one can read a slogan that reads: "Waiting for heaven's justice", which could refer to "waiting for heaven's justice", probably related to the words that the supposed lover uttered before being hanged.
Dear shooting star:
There seems to be a misunderstanding.
[...I'm not that convinced. Maybe I'm going to erase it again. :-/]
Bello Honest Emigrant Australia Would Marry Compaesana Illibata -
Director: Luigi Zampa
Writers: Rodolfo Sonego
Stars: Alberto Sordi, Claudia Cardinale, Riccardo Garrone
(1971)
A worker who emigrated to Australia searches for a mail-order wife using a friend's photo. A former prostitute who wants to change her life contacts him, without revealing her identity. Their mutual lies create a series of hilarious and bitter misunderstandings.
Amedeo is a poor Italian immigrant living in Australia for twenty years. Seeking to marry an Italian wife, he corresponds with Carmela, a pretty girl from Rome. They do not reveal their true identities and do not mention their hardships in their letters. Carmela is actually a prostitute seeking an opportunity to change her life style. Amedeo, embarrassed about his looks, sends a photograph to Carmela of his handsome friend Giuseppe.
Busy and dreamy Amedeo returns from work
life scenes
DSC - 4276
Ryōan-ji (龍安寺 o 竜安寺 El templo del dragón tranquilo y pacífico) es un templo Zen situado en Kioto, Japón. Forma parte del conjunto de Monumentos históricos de la antigua Kioto (ciudades de Kioto, Uji y Otsu) declarados Patrimonio de la Humanidad por la Unesco en el año 1994. El templo fue creado por la escuela Myoshinji de los Rinzai, pertenecientes al Budismo Zen.
Dentro de este templo existe uno de los karesansui (jardines secos) más famosos del mundo, construido a finales del siglo XV, en torno al 1488. El creador de este jardín no dejó ninguna explicación sobre su significado, por lo que durante siglos ha sido un misterio descubrir el verdadero sentido o el porqué de su gran belleza.
Se trata de un jardín rectangular construido frente al edificio principal. La composición utiliza arena rastrillada, musgo y rocas. Existe un predominio de formas alargadas colocadas en paralelo a la posición del edificio.
Los tres lados restantes están cerrados por muros, lo que -junto a la línea inferior de la plataforma desde la que se debe contemplar el edificio- permite acotar la visión del jardín en un marco longitudinal.
Durante muchos años se pensó que la mejor interpretación del sentido de la disposición de las piedras en el jardín era el de una especie de "Tigre cruzando un río". En el 2002, unos científicos de la Universidad de Kioto utilizaron ordenadores para buscar formas usando la disposición de las zonas vacías del jardín en vez de la disposición de las piedras y encontraron el patrón de un árbol escondido dentro de la estructura del jardín. Dicen que por eso es tan placentero presenciar el jardín, nuestro subconsiciente capta el patrón del árbol sin que lo notemos.
El mismo equipo de investigación probó moviendo algunas piedras de forma aleatoria y vieron que enseguida se perdía la armonía de la configuración inicial. Por ello creen que la construcción del jardín está muy bien pensada y no es un acto de la casualidad.
Aunque el jardín de rocas es el más conocido de Ryōan-ji, el templo también tiene un jardín acuático; el estanque Kyoyochi, construido en el siglo XII como parte de la finca Fujiwara. Recientemente se han plantado cerezos al noroeste del estanque.
es.wikipedia.org/wiki/Ry%C5%8Dan-ji
japonismo.com/blog/viajar-japon-el-templo-ryoanji-de-kioto
Ryōan-ji (Shinjitai: 竜安寺, Kyūjitai: 龍安寺, The Temple of the Dragon at Peace) is a Zen temple located in northwest Kyoto, Japan. It belongs to the Myōshin-ji school of the Rinzai branch of Zen Buddhism. The Ryōan-ji garden is considered one of the finest surviving examples of kare-sansui ("dry landscape"), a refined type of Japanese Zen temple garden design generally featuring distinctive larger rock formations arranged amidst a sweep of smooth pebbles (small, carefully selected polished river rocks) raked into linear patterns that facilitate meditation. The temple and its gardens are listed as one of the Historic Monuments of Ancient Kyoto, and as a UNESCO World Heritage Site.
There is controversy over who built the garden and when. Most sources date it to the second half of the 15th century. The conclusive history, though, based on documentary sources, is as follows: Hosokawa Katsumoto (1430–1473), deputy to the shōgun, founded in 1450 the Ryōan-ji temple, but the complex was burnt down during the Ōnin War. His son Masamoto rebuilt the temple at the very end of the same century. It is not clear whether any garden was constructed at that time facing the main hall. First descriptions of a garden, clearly describing one in front of the main hall, date from 1680–1682. It is described as a composition of nine big stones laid out to represent Tiger Cubs Crossing the Water. As the garden has fifteen stones at present, it was clearly different from the garden that we see today. A great fire destroyed the buildings in 1779, and rubble of the burnt buildings was dumped in the garden. Garden writer and specialist Akisato Rito (died c. 1830) redid the garden completely on top of the rubble at the end of the eighteenth century and published a picture of his garden in his Celebrated Gardens and Sights of Kyoto (Miyako rinsen meisho zue) of 1799, showing the garden as it looks today. One big stone at the back was buried partly; it has two first names carved in it, probably names of untouchable stone workers, so called kawaramono. There is no evidence of Zen monks having worked on the garden, apart from the raking of the sand.
The temple's name is synonymous with the temple's famous Zen garden, the karesansui (dry landscape) rock garden, thought to have been built in the late 15th century.
The garden is a rectangle of 248 square meters (2,670 square feet), twenty-five meters by ten meters. Placed within it are fifteen stones of different sizes, carefully composed in five groups; one group of five stones, two groups of three, and two groups of two stones. The stones are surrounded by white gravel, which is carefully raked each day by the monks. The only vegetation in the garden is some moss around the stones.
The garden is meant to be viewed from a seated position on the veranda of the hōjō, the residence of the abbot of the monastery. The stones are placed so that the entire composition cannot be seen at once from the veranda. They are also arranged so that when looking at the garden from any angle (other than from above) only fourteen of the boulders are visible at one time. It is traditionally said that only through attaining enlightenment would one be able to view the fifteenth boulder.
The wall behind the garden is an important element of the garden. It is made of clay, which has been stained by age with subtle brown and orange tones. In 1977, the tile roof of the wall was restored with tree bark to its original appearance. When the garden was rebuilt in 1799, it came up higher than before and a view over the wall to the mountain scenery behind came about. At present this view is blocked by trees.
Like any work of art, the artistic garden of Ryōan-ji is also open to interpretation or research into possible meanings. Many different theories have been put forward inside and outside Japan about what the garden is supposed to represent, from islands in a stream, a tiger family crossing a river, mountain peaks, to theories about secrets of geometry or the rules of equilibrium of odd numbers. Garden historian Gunter Nitschke wrote: "The garden at Ryōan-ji does not symbolize anything, or more precisely, to avoid any misunderstanding, the garden of Ryōan-ji does not symbolize, nor does it have the value of reproducing a natural beauty that one can find in the real or mythical world. I consider it to be an abstract composition of 'natural' objects in space, a composition whose function is to incite meditation."
In an article published by the science journal Nature, Gert van Tonder and Michael Lyons analyze the rock garden by generating a model of shape analysis (medial axis) in early visual processing.
Using this model, they show that the empty space of the garden is implicitly structured, and is aligned with the temple's architecture. According to the researchers, one critical axis of symmetry passes close to the centre of the main hall, which is the traditionally preferred viewing point. In essence, viewing the placement of the stones from a sightline along this point brings a shape from nature (a dichotomously branched tree with a mean branch length decreasing monotonically from the trunk to the tertiary level) in relief.
The researchers propose that the implicit structure of the garden is designed to appeal to the viewer's unconscious visual sensitivity to axial-symmetry skeletons of stimulus shapes. In support of their findings, they found that imposing a random perturbation of the locations of individual rock features destroyed the special characteristics.
While the rock garden is the best-known garden of Ryōan-ji, the temple also has a water garden; the Kyoyochi Pond, built in the 12th century as part of the Fujiwara estate. Cherry trees have recently been planted northwest of the pond.
Io, loro e Lara is a 2010 film directed by and starring Carlo Verdone.
The film was dedicated to Verdone's father, Mario, who died during
the making of the film.
Plot: Carlo Mascolo is a priest on a mission in Africa. Following a profound spiritual crisis, the priest decides to return to Rome, where the rest of his family lives, with the idea of taking a break to reflect and find clarity within himself.
However, when Carlo arrives home, he is overwhelmed by his family's problems: his elderly father Alberto has married the young Moldovan caregiver Olga, much to the disappointment of his siblings Luigi and Beatrice, who fear for their inheritance. Carlo also has doubts about his father's choice, but everything changes with the sudden death of his stepmother.
The situation takes an unexpected turn with the arrival of Lara, the deceased's daughter: Alberto—now a widower and desperate—orders the girl to live in the family home for a while, where she cohabits with the priest. Initially, a good relationship develops between the two, but it strains when Carlo discovers that the young woman is leading a double life. But this is only the beginning of a long series of misunderstandings...
Plot: Carlo Mascolo is a priest on a mission in Africa. Following a profound spiritual crisis, the priest decides to return to Rome, where the rest of his family lives, with the intention of taking a break to reflect and gain clarity within himself.
Life scenes
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SELF PORTRAIT ON TEN SECOND TIMER
“The same passions in man and woman nonetheless differ in tempo;
hence man and woman do not cease misunderstanding one another”
~Friedrich Nietzsche~
The environment has a significant impact on how you live. Early in life, the grown-ups expose you to how they think life should be lived. Typically, you conform to this given direction because it is what you know and consider proper. Though most people’s views on this standard vary slightly, the core points are the same.
Yet while clinging to this life guideline, you might realize that fitting into parts of it becomes more difficult. Not following the standard frequently causes confrontations because of fear and misunderstanding.
However, it’s almost always worth freeing yourself from narrowed views because, in the end, everyone ends up writing their own life guidance.
There was a time when I thought I had to come up with a host of brilliant ideas each day, and now I sometimes feel like a barren stretch of land in which nothing grows, but which is nevertheless spanned by a high, wide sky. And this way is by far the better.
Nowadays I am suspicious of the multitude of thoughts that well up ; I would sooner lie fallow and wait. Such an awful lot has happened inside me these last few days. Something has crystallized.
I have looked our destruction, our miserable end, which has already begun in so many small ways in our daily life, and my love of life has not been diminished. I am not bitter or rebellious, or in anyway discouraged. I continue to grow from day to day, even with the likelihood of destruction staring me in the face. I shall no longer flirt with words, for words merely evoke misunderstandings : I have come to terms with life, nothing can happen me, and after all my personal fate is not the issue, it doesn’t really matter if it is I who perish or another.
What matters is that we are all marked men.
That’s what I sometime say to others, although it doesn’t make much sense and doesn’t really explain what I mean. By “ coming to terms with life “ I mean : The reality of death has become a definite part of my life ; my life has, so to speak, been extended by death, by my looking death in the eye and accepting it, by accepting destruction as part of life and no longer wasting my energies on fear of death or the refusal to acknowledge its inevitably.
Through non-acceptance and through having all those fears, most people are left with just a pitiful and mutilated slice of life, which can hardly be called life at all. It sounds paradoxical : by excluding death from our life we can not live a full life, and by admitting death into our life we enlarge and enrich it.
-Etty Hillesum', July 1942
Tales in Omos Chapter 4: Festival Of The Kaid
Koruel rushed to the town square, some guards were attacking an Elven woman, but something seemed amiss as they did. Koruel noticed a few of the guard’s eyes were buzzing with a dark shade of red, they seemed to be mindlessly violent and were unresponsive to his questions. Koruel and this Elven woman worked together to knock out the brainwashed guards and were greeted by their shocked Captain, Devon. He thanked them for their help and expressed his confusion on why his own men would turn on him and an innocent civilian. The Elven woman introduced herself as Lia Starbreeze, her family name brought Captain Devon to his knees, he apologised for not having bowed sooner. Lia dismissed this formality and seemed rather fed up with such actions from people, she wished to be treated like any other. Captain Devon asked the two to accompany him to visit the Kaid and tell them of what transpired. They left to do so, after freeing Sekarr from his imprisonment after the previous ‘misunderstanding’.
The party entered the glamourous gold and white halls and walked towards where the Kaid was residing. At this time he was in deep conversation with the Meejay, but stopped to listen to Captain Devon. The presence of raw strength from the room was incredible, the Meejay were some of the most powerful men and women in the realm. The party discussed what had happened and the Kaid seemed troubled. It was stated that one of the Meejay, Corina had been recently killed. Alister, the Meejay who had assisted the party before, stormed out of the room after this information was mentioned. Sekarr broke the tension by proposing that it could in some way be related to the events that just took place. Sekarr continued to talk, his savage upbringing meant he had little regard for manners. Lugan, one of the largest men in the room threatened Sekarr for speaking out of turn, The party assumed he would’ve learnt from his recent imprisonment, but he hadn’t. Sekarr continued to speak, and Lugan continued to grimace. Before he got the party killed, Koruel cast a sleeping spell to shut Sekarr up. The Kaid thanked the adventures for their information and he promised to investigate things further. With this the party left.
Lia expressed her interest in staying with Sekarr and Koreul, as she longed for adventure and enjoyed fighting with Koruel in the city streets. They welcomed her onboard, happy to have another strong warrior join them. The group decided it was wise to explore Siwa and find something to eat. The found their way to a nearby Tavern and eat there. Their meal was quickly interrupted by some drunk men who began hitting on Lia and causing a scene. The party dealt with them… but as usual Sekarr took things a little too far, and got them kicked out of the tavern.
The party met up with some of Lia’s family, she was of noble blood, though she didn’t seem to enjoy that she was. They were escorted to The Starbreeze Manor, Lia’s Home. They were told they could stay the night here. Things between Lia and her family were tense, they wanted her to stay with the family, but she was determined to live her life, go on an adventure and have some sense of freedom. Lia’s mentor, Oromis disagree with the rest of the family. He checked to see if Lia was hurt, and then gave her a strange green emerald necklace telling her she needed to leave to assist the Kaid.
Things between Sekarr and Koruel were tense. Koruel had been lying to Sekarr, and refusing to share his past. Sekarr welcomed his company but couldn’t trust someone who was so suspicious and secretive. Before Koruel went to sleep, Sekarr drew his bow on him, demanding that he be honest with him. Koruel had said before he had killed an innocent person, Sekarr had a high moral standing and refused to work with murderers. Koruel expressed his past was hard to talk about, but told him aspects that he was willing to share. The person he had killed was his daughter, and it was not his choice that she died. He also expressed that his magic can be unstable and he was sorry for the times it had hurt him and the party in combat. Sekarr was satisfied and the two were on good terms.
The following morning the party left together to explore Siwa. As they did a rather flamboyant man pranced up toward Koruel expressing how happy he was to see him. Confusion spread across Koruel’s face as this man, later introducing himself as Sophomore proclaimed that he needed an actor for the performance tonight, and Koruel was the perfect man for the job. Lying threw his teeth Koruel expressed that he was a seasoned actor and would be happy to help. Sophomores offer for a hefty amount of payment was also enough to entice Koruel.
The party left in confusion and mild excitement. They heading to the theatre and Koruel began his preparation. The play wouldn’t start until much later tonight, so Lia and Sekarr decided to explore Siwa together while they waited. The Festival of the Kaid was on in the city and much celebration and excitement filled the streets, more so then normal. Sekarr had never seen such things, Lia disliked the politics and formalities, but enjoyed the festival. As they walked the city streets, two children rushed past them in a flash, stealing some of their weapons. Sekarr and Lia raced after them and found themselves in a dark alleyway. The kids simply wanted a laugh and left their weapons there, running off giggling. As they went to pick up their stolen weapons, several shady men walked into the alleyway, weapons drawn and looking for trouble. Without hesitation Sekarr rushed into battle, as did Lia. The two of them made quick work of these would be attackers. Sekarr was rather impressed by Lia’s skills in combat.
The stars and the moon filled the sky, followed by fireworks and celebration across Siwa. Lia and Sekarr continued to enjoy themselves and proceeded to head back to the Solaris theatre in time to watch Koruel in his performance debut. Koruel was a natural, even though this was his first performance, it was as if he had been acting for years! As the show continued, hooded figures rose from the seats around them, they too seemed to be mindlessly moving, and the sides of their eyes buzzed a dark shade of red. They drew daggers and began to mindlessly slaughter the audience. Screams filled the air, and Sekarr and Lia drew their weapons…
To Be Continued…
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The image might be a tad dark for you, if so turn up your brightness ;)
Continuing things, hadn't posted any new ones in a bit, but it takes a bit to write the stories. We're currently up to Chapter 13, so I'll be sure to marathon the stories soon (All the pictures for each chapter I'm caught up on though ;)
More soon!
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“Sensitive people are the most genuine and honest people you will ever meet. There is nothing they won’t tell you about themselves if they trust your kindness. However, the moment you betray them, reject them or devalue them, they become the worse type of person. Unfortunately, they end up hurting themselves in the long run. They don’t want to hurt other people. It is against their very nature. They want to make amends and undo the wrong they did. Their life is a wave of highs and lows. They live with guilt and constant pain over unresolved situations and misunderstandings. They are tortured souls that are not able to live with hatred or being hated. This type of person needs the most love anyone can give them because their soul has been constantly bruised by others. However, despite the tragedy of what they have to go through in life, they remain the most compassionate people worth knowing, and the ones that often become activists for the broken hearted, forgotten and the misunderstood. They are angels with broken wings that only fly when loved.”
- Shannon L. Alder
The rhinoceros hornbill (Buceros rhinoceros) is one of the largest hornbills, adults being approximately the size of a swan, 91–122 cm (36–48 in) long and weighing 2–3 kg (4.4–6.6 lb). In captivity it can live for up to 90 years. It is found in lowland and montane, tropical and subtropical climates and in mountain rain forests up to 1,400 metres altitude in Borneo, Sumatra, Java, the Malay Peninsula, Singapore, and southern Thailand.
The rhinoceros hornbill is the state bird of the Malaysian state of Sarawak and the country's National Bird. Some Dayak people, especially the Ibanic groups, believe it to be the chief of worldly birds or the supreme worldly bird, and its statue is used to welcome the god of the augural birds, Sengalang Burong, to the feasts and celebrations of humankind. Contrary to some misunderstandings, the rhinoceros hornbill does not represent their war god, Sengalang Burong, who is represented in this world by the brahminy kite